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GENERAL 


Letter  Engraving 


FOR 

WATCHMAKERS,  JEWELERS  AND 
KINDRED  TRADES 

A COMPLETE  EXPOSITION  OF  THE  ART  OF  ENGRAVING 
ON  METALS. 

BY  G.  F.  WHELPLEY. 


CHICAGO: 

Geo,  K.  Hazlitt  & Co.,  Publishers, 


COPYRIGHT,  1890 
BY 


GKO.  K.  HAZLITT  & OO. 


CONTENTS. 


CHAPTER  I. 


Page. 

General  hints  to  the  beginner.  Lines  and  curves.  Originality.  9 


CHAPTER  II. 

Practice  material.  Position  of  Graver.  Treatment  of  gravers.  15 
Correct  spacing. 

CHAPTER  III. 

Coffin  plate  engraving.  Necessary  tools.  Laying  out  the  work.  23 
Preparation  of  plate.  Use  of  gravers.  Methods  of  cutting. 
Slope  and  height  of  letters.  Inclination  of  graver.  Trans- 
ferring. Long  and  short  names  and  their  appropriate  style  of 
letters. 

CHAPTER  IV. 

Coffin  plates.  Price  of  work  to  be  considered.  Harmony  in  laying  43 
out.  Touching  up  defective  lines.  Discrepancy  in  height  and 
spacing.  Injurious  effects  of  careless  habits.  Good  models. 
Difficult  materials  and  their  treatment. 


CHAPTER  V. 

Tools  and  appliances.  Sharpening  gravers.  Proper  angles.  Sizes  55 
and  shapes  of  gravers.  Choice  of  tools.  Engraving  in  rings. 
Gravers  for  same.  Engraving  blocks  and  stand. 


8 


4 


CONTENTS. 


CHAPTER  VI. 

Ciphers.  Their  formation.  Ornamentation.  Transfering.  Shape  71 
of  article.  Spoons  and  forks.  Correct  position  of  body 
Inscriptions.  Styles  of  lettering.  Best  manner  of  cutting. 


CHAPTER  VII. 

Ciphers.  Methods  of  ornamentation.  Ciphers  as  compared  with  89 
monograms.  Monograms  and  their  treatment.  Method  of 
cutting  Figure  Monograms  or  Cipheroids.  Treatment  of 
dominant  letters  or  figures.  Ornamentation.  Removal  of 
scratches.  Treatment  of  letters  of  general  similarity  in  shape. 
Intertwining.  Complex  Monograms.  General  treatment. 


INTRODUCTION. 


MANY  difficulties  and  obstacles  are  encountered  in 
making  a choice  of  a profession  or  trade.  One  of 
the  principal  objections  to  adopting  either,  is  the  requisite 
exertion  in  acquiring  sufficient  knowledge  in  the  one,  and 
skill  in  the  use  of  tools  in  the  other.  Much  time  and 
careful  attention  are  components  of  success  in  any  under- 
taking. Anxiety  to  become  proficient  frequently,  instead 
of  being  an  assistance,  is  a barrier,  and  the  beginner,  not 
making  the  rapid  advance  that  his  ambition  desires,  his 
patience  is  taxed  beyond  endurance,  and  dislike  soon  in- 
sinuates itself,  weakens  his  energy,  and  leads  finally  to 
his  abandoning  the  undertaking  just  when  success  was 
within  his  grasp.  This  is  particularly  so  in  the  art 
of  letter  engraving.  The  rudiments  must  be  thoroughly 
mastered  before  one  can  hope  to  become  proficient. 
Patient  study  and  faithful  practice  alone  can  form  that 
foundation  which  is  so  very  essential  to  ultimate  success. 
It  is  claimed,  and  I think  justly,  that  at  the  present  day 
the  prospects  of  intelligent  labor  are  far  in  advance  of 
those  of  professional  callings.  The  demand  for  the  latter 
is  very  limited,  but  the  demand  for  skillful  labor,  in  its 
manifold  branches,  is  constantly  increasing.  A person 
wishing  to  learn  any  art  must  be,  to  a certain  extent, 
capable  of  self-instruction.  Within  the  past  few  years 
the  opportunities  to  learn  trades  are  not  as  propitious  as 
they  formerly  were.  Tradesmen  do  not  seem  to  take 
the  pains  to  teach  apprentices  that  they  used  to.  A boy 
now-a-days  may  spend  some  months  in  a shop,  and  not 


5 


6 


INTRODUCTION. 


know  the  names  of  some  of  the  tools  that  he  may  oe 
called  upon  daily  to  keep  clean,  or  otherwise  in  order.  I 
do  not  intend  to  enter  upon  a disquisition  on  the  causes 
of  this,  but  that  it  is  evident  can  be  shown  in  almost  any 
establishment  where  a number  of  apprentices  are  em- 
ployed. The  difficulties  that  intelligent  youths  meet  with 
in  their  endeavor  to  learn  a trade,  either  that  they  cannot 
find  an  opening,  or  that  which  they  would  choose  is  too 
laborious,  and  for  other  such  reasons,  induce  them  to 
abandon  the  notion,  and  seek  instead  a profession,  or 
enter  upon  a commercial  life,  in  either  of  which  years  and 
•years  of  toil  are  required  before  they  begin  to  realize 
much  more  than  a pittance.  This  was  so  forcibly  ap- 
parent that  it  formed  a strong  inducement  to  me  to  write 
this  work,  and  thus  place  within  the  grasp  of  boys  and 
girls  what  will  prove  at  once  an  amusing  and  a lucrative 
employment.  The  market  is  not  overstocked  with  good 
engravers,  especially  letter  engravers. 

To  be  an  expert  in  this  art  requires  something  more 
than  mere  mechanical  action  of  the  hands.  The  head 
must  also  play  its  part.  To  be  able  to  design  well  will 
help  materially.  Drawing,  especially  mechanical  draw- 
ing, is  also  an  adjunct.  I do  not  propose,  in  my  treatise, 
to  teach  either  of  the  last  named  branches,  but  simply  to  lay 
before  the  public  an  easy  method  of  self-instruction  in  let- 
ter engraving,  which,  if  carefully  followed,  and  the  few 
hints  I have  given  above  as  to  patience,  etc.,  adhered  to, 
will  make  experts  in  the  art. 

The  work  is  light  and  does  not  require  any  physical 
exertion,  and  is  beginning  to  attract  special  attention.  It 
is  adapted  to  ladies  as  well  as  to  gentlemen,  and  is  no 
more  laborious  than  telegraphy,  stenography,  or  many  of 
the  other  avocations  that  females  follow.  How  much 
better  would  it  be  for  a girl  to  be  able  to  engrave  well 
and  earn  a comfortable  living,  than  to  be  employed  in  a 


INTRODUCTION. 


7 


store  where  she  is  compelled  to  stand  ten  or  twelve  hours 
a day,  and  scarcely  realize  enough  to  support  her?  An- 
other advantage  engraving  offers  is,  that  it  does  not  re- 
quire years  to  become  proficient.  It  is  true  in  this,  as  in 
every  other  work,  there  is  always  advancement  to  be 
made,  and  the  more  fertile  the  brain,  the  more  deft  the 
hand ; the  newer  the  design,  the  more  taking  it  is,  and 
naturally  the  more  remunerative. 


GENERAL 


LETTER  ENGRAVING. 


CHAPTER  I. 

(HAVE  said  that  patience  and  practice  are  essentially 
necessary  in  order  to  acquire  skill  in  the  use  of  tools. 
I say  the  same,  precisely,  in  reference  to  designing  and 
the  formation  of  letters.  There  is  a popular  fallacy  ex- 
isting among  many  people,  that  a good  writer  will  make  a 
good  letter  engraver;  this  does  not  follow.  I say  this  for 
the  encouragement  of  poor  and  not  to  the  detriment  of 
good  penmen.  He  is  generally  considered  a good  writer 
who  can  flourish  well,  but  while  this  may  be  so,  it  is  usu- 
ally otherwise,  because  a “-flourisher”  seldom  writes  a 
round  hand,  and  a round  hand  is  the  style  that  a letter  en- 
graver should  acquire,  because  it  contains  in  itself  all  that 
is  required  for  fancy  or  flourish  writing.  Its  curves  and 
strokes  are  used  in  all  classes  of  letter  work,  even  in  Ro- 
man, italic,  old  English  and  German  text,  These  connec- 
tions I will  fully  demonstrate  further  on.  Round  hand  is 
slow  but  sure,  and  consequently  more  accurate  and  simple. 
There  is  one  thing  that  I wish  to  forcibly  impress  upon 
the  minds  of  beginners,  and  that  is  to  avoid  what  may  be 
termed  “ mannerism,”  either  in  the  combination  of  letters 
or  the  position  of  the  body.  When  children  begin  to  learn 
to  write,  the  first  thing  taught  them  is  how  to  sit  at  the 
desk,  body  erect,  shoulders  well  thrown  back,  and  chest 


9 


IO  GENERAL  LETTER  ENGRAVING. 

advanced.  Next  thing  is  how  to  hold  the  pen,  then  the 
position  of  the  arm,  the  action  of  the  wrist,  movement  of 
the  fingers,  and  finally,  to  keep  the  copy-book  before 
them.  These  rules  strictly  followed  insure  excellent  pen- 
manship. But  how  tedious  and  discouraging  this  is. 
Many  of  my  readers  will  recall  the  sore  knuckles  and 
shoulders,  made  so  by  the  stern  old  writing  masters,  who 
would  not  let  .us  sit  at  our  ease  and  hold  our  pens  as  we 
list,  so  long  as  we  made  our  letters.  These  same  rules 
apply  to  those  wishing  to  learn  the  art  of  letter  engraving, 
and  if  you  are  instructing  yourself,  you  must  become  the 
stern  master.  Mastery  in  this  will  give  you  ease,  grace 
and,  what  is  most  essential,  originality.  You  will  not  have 
formed  a groove  or  rut  out  of  which  you  cannot  turn,  but 
you  will  be  master,  and  can  turn  whither  you  will.  The 
formation  of  letters  is  an  all-important  item,  and  must  be 
realized  at  the  very  outset.  To  aid  one  in  this,  the  student 
should  familiarize  himself  with  some  of  the  different  meth- 
ods of  lettering,  as  taught  by  the  more  modern  caligraph- 
ers,  prominent  among  whom  are  Spencer  and  Haskell, 
equally  good  for  simplicity  and  style.  Inattention  to  such 
details  is  much  regretted  by  many  engravers  who,  in  all 
but  letter  engraving,  are  experts.  But  to  the  practical 
eye,  their  attempts  at  lettering  are  very  faulty.  Symmetry 
and  proportion  must  be  studiously  sought  after.  Now, 
from  what  has  been  said,  it  is  readily  seen  that  engraving 
does  not  consist  in  simply  being  able  to  cut  well.  This, 
indeed,  is  the  easiest  feature  in  the  art.  I can  not  impress 
too  strongly  upon  the  minds  of  beginners,  the  usefulness, 
aye,  the  necessity  of  accuracy  in  formation.  Under  this 
heading  is  taken  proportion,  space  and  embellishment. 
For  when  the  style  of  letter  is  decided  upon,  you  proceed 
to  form  it,  leaving  space  for  flourishing  or  otherwise  em- 
bellishing. While  in  formation  there  may  be  set  rules  to 
guide  and  direct,  it  is  not  so  of  planning  and  drawing. 


GENERAL  LETTER  ENGRAVING. 


II 


These  are  obtained  rather  by  the  eye,  by  comparison,  and 
are  more  or  less  attractive  according  to  the  degree  of 
natural  or  acquired  facility  in  designing.  I must  except  in 
these  remarks  mechanical  drawing,  since  mathematics 
play  such  a prominent  part  therein.  Experience  and  taste, 
however,  will  dictate  what  character  of  outline  will  pro- 
duce effective  harmony,  conspicuity  and  proportion.  It  is 
advisable,  and  I strongly  recommend  it,  especially  at  the 
commencement,  that  the  design  be  sketched  on  paper,  so 
that  when  it  is  to  be  copied  on  metal,  the  defects  may  be 
more  readily  perceived  and  corrected;  and  it  is  just  here 
that  you  will  find  an  immense  advantage  in  even  a limited 
knowledge  of  mathematical  drawing;  whether  the  work 
in  hand  be  circular,  oval,  square,  triangular,  a parallelo- 
gram, or  any  other  geometrical  figure,  accuracy  as  to 
proportion  must  be  had.  Thus,  a circle  must  be  a true 
circle,  so  with  a square,  etc.  In  forming  all  alphabetical 
characters,  care  should  be  taken  to  avoid  over-balance, 
clumsy  or  unnecessarily  bold  lines.  To  become  proficient 
in  formation,  the  student  should  supply  himself  with  blank 
books  properly  ruled,  and  devote  several  hours  daily  to 
drawing  or  copying  from  a text  the  different  letters  as 
named  in  the  beginning,  and  become  thoroughly  familiar 
With  them.  There  is  one  almost  infallible  rule  to  be  fol- 
lowed, no  matter  what  the  size  of  the  letter  may  be, 
whether  one-half  inch  or  three  inches;  there  must  be  a 
center  line  for  the  middle  of  the  letter.  This  will  keep 
the  proportions,  and  insure  symmetry  in  the  formation. 
This  is  so  as  to  every  style.  The  eye  must  be  depended 
upon  to  detect  imperfections  in  form  etc.,  and  the  hand  to 
correct  them. 

No  one  need  fancy  from  the  apparent  simplicity  of  the 
accompanying  illustrations  that  the  work  is  over  easy. 
The  reader  will  remember  that  I have  tried  to  impress 
upon  the  beginner  the  necessity  of  careful  study  in 


12 


GENERAL  LETTER  ENGRAVING. 


formation.  In  these  illustrations  it  is  exemplified;  great 
attention  to  exactness  is  essential;  no  little  line,  curve  or 
stroke  is  to  be  overlooked  or  slighted;  do  not  fancy  that 
all  that  is  needed  is  a few  tools  and  a little  practice  to 
perfect  you  in  the  art,  it’s  so  simple  “you  know.”  Well, 
your  surmise  is  correct,  if  your  ambition  does  not  dictate 
something  higher  than  a botch,  but  if  it  soars  to  expert- 
ness, then,  my  dear  beginner,  follow  my  directions  and 
take  the  path  that  all  have  trod  who  have  reached  the 
summit  of  success,  by  careful  patient  plodding.  Three 
or  four  months  of  careful  work  and  the  clouds  will  break, 
and  the  clear  sky  of  success  will  begin  to  appear;  new 
conceptions  will  dawn  upon  you,  and  the  hand  grown 
bold,  the  eye  exact,  you  will  venture  to  give  tangible  for- 


Plate  i 


mation  to  your  conceptions.  But  now  let  me  in  a meas- 
ure exemplify.  Taking  as  a fundamental  principle  the 
letter  JR  in  the  five  different  texts  most  common  in  use  we 
will  find  that  in  them  are  contained  the  lines  and  curves 
needed  in  nearly  all  other  letters,  whether  of  the  upper 
or  lower  case.  Seeing  these  delineations  the  student  is 
apt  to  consider  that  all  that  is  necessary  now  is  to  take  up 
his  graver  and  “plow  ” out  the  lines.  Not  so  fast!  The 
pencil  is  the  first  tool  to  be  used.  Learn  to  draw  or  trace 
the  letters  well;  formation  remember,  is  all  important,  and 
it  is  in  this  way  you  will  acquire  it.  I have  said  that 
ornamentation  or  embellishment  may  to  a great  extent 
be  a natural  gift,  but  formation  must  be  the  result  of 
study  and  careful  practice.  When  the  learner  has  mas- 
tered this  latter  branch,  then  he  may  with  confidence 
essay  to  cut  and  shade.  Of  the  several  letters  introduced 


GENERAL.  LETTER  ENGRAVING. 


13 


above,  the  Roman  R ranks  high  in  importance  as  it  con- 
tains at  least  in  part,  nearly  all  the  curves  used  in  the 
other  texts.  Prominently  following  R is  the  letter  M,  as 
in  it  the  important  slanting  and  upright  lines  are  shown. 
The  beginner  must  not  fall  into  a very  common  error, 
that  of  fancying  he  can  do  well  enough  in  a few  months 
to  set  aside  the  tedium  of  apprenticeship  and  embark  as 
a full  fledged  artist , because  he  has  engraved  a name  on 
a ring,  ornamented  a bangle  or  embellished  a locket,  and 
the  work  has  been  admired.  Let  him  take  it  to  an  artis- 
tic engraver  and  get  an  honest  criticism,  and  let  him  have 
the  courage  to  take  the  advice  given,  then  go  humbly 


Plate  2. 


back  to  his  work  determined  to  make  an  artist  of  himself 
through  the  channels  that  I have  endeavored  to  outline. 
I do  not  wish  to  confine  or  constrain  the  learner  to  any 
given  style,  I wish  to  impress  him  with  the  importance  of 
formation,  and  it  is  with  this  view  that  I present  the 
accompanying  cut.  Master  the  details  of  these  strokes, 
lines  and  curves,  and  then  your  native  or  acquired  talent 
will  supply  the  rest.  Nothing  in  the  rudiments  of  engrav- 
ing must  be  treated  as  a trifle,  every  minutia  plays  its  part. 
In  Plate  2,  there  is  shown  almost  every  line  and  curve 
that  is  in  any  way  connected  with  letter  engraving. 

This  Plate  is  nearly  perfect  in  point  of  formation  and 
general  exactness.  It  will  be  observed  that  all  the  letters 


1 4 GENERAL.  LETTER  ENGRAVING. 

of  the  lower  case  contain  one  or  more  of  the  convex  or 
concave  curves,  and  a little  observation  will  readily  show 
how  important  they  are  for  the  upper  case,  no  matter 
what  text  you  select.  The  circular  lines  are  useful  for  the 
purpose  of  acquiring  a facility  in  ornamenting  and  embel- 
lishing. For  after  all,  ornamentation  is  nothing  more  or 
less  than  a well  arranged  combination  of  lines  and  curves. 
The  more  perfect  one  becomes  in  exact  formation  of  them, 
the  better  will  he  be  able  to  ornament.  Now  besides 
being  useful  for  the  said  purposes,  these  lines  and  curves 
are  great  auxiliaries  to  perfect  formation  and  the  design- 
ing of  letters.  Again,  he  who  would  become  a master, 
should  familiarize  himself  with  as  many  different  styles  of 
letters  as  possible,  and  nothing  will  assist  more  to  this  end, 
than  the  study  of  good  text  books  in  which  the  several 
alphabets  are  shown.  In  them  all  you  will  find  the 
curves  and  lines  above  described  play  a fundamental 
part.  Practice  will  lead  to  mastery,  and  mastery  to 
originality,  and  originality,  in  nine  cases  out  of  ten,  to  suc- 
cess. I may  venture  to  say,  and  without  much  fear  of 
contradiction,  that  all  artistic  engravers  owe  their  success 
to  originality  in  designing  and  formation.  Now  if  this  is 
so  of  engraving  in  general,  it  is  particularly  so  of  letter 
engraving.  Having  used  the  pencil  sufficiently  long  to 
be  able  to  curve  with  exactness,  you  may  then  take  up 
your  graver  and  begin  the  cutting.  For  practice  with 
the  graver,  Brittannia,  zinc  and  copper  arc  used,  because 
they  are  soft  and  pliable. 


GENERAL  LETTER  ENGRAVING. 


15 


CHAPTER  II. 

IT  will  be  readily  understood  that  every  article  upon 
which  letters  can  be  engraved,  is  included  in  the  sug- 
gestions that  will  follow: 

In  lettering  jewelry  and  that  class  of  work,  the  course 
of  procedure  differs  from  work  done  on  steel,  wood, 
lithographs,  or  dies,  and  sign  engravings.  These  letters 
are  a separate  branch  and  with  the  exception  of  the  last 
mentioned,  are  used  in  printing.  The  modus  operandi 
is  to  design,  trace,  and  cut  backwards,  which  is  directly 
opposite  to  the  method  in  lettering  on  gold,  silver,  etc. 
Although  we  have  little  or  no  dealings  with  metal  sign 
engraving,  as  the  hammer  and  chisel  take  the  place  of 
the  graver,  and  the  work  is  considerably  heavier.  But 
yet  it  is  well  to  sound  a word  of  warning  for  the  benefit 
of  those  who  may  essay  this  branch.  It  must  not  be 
indifferently  done,  as  owing  to  the  filling  in  that  must  be 
done,  the  work  is  thrown  prominently  out,  and  conse- 
quently flaws  arising  from  careless  formation,  etc.,  are 
readily  detected. 

Door  plates,  and  especially  coffin  plates,  are  intimately 
connected  with  letter  engraving,  and  the  latter  will  con- 
stitute the  burden  of  our  present  effort. 

. The  importance  of  this  work  is  self-evident  and  needs 
no  comment.  In  coffin  plate  cutting,  almost  every  imag- 
inable style  of  letter  and  flourish  is  used.  Owing  to  the 
space  on  which  to  cut,  and  the  increased  size  of  letters, 
one  feels  a freedom  that  has  a tendency  to  inspire  confi- 
dence. Quickness  and  beauty  are  frequently  the  result- 
ants. Of  course  we  take  it  for  granted  that  mastery  in 


1 6 GENERAL  LETTER  ENGRAVING. 

the  use  of  the  pencil  has  been  acquired,  and  some  prac- 
tice had  with  the  graver  on  metals  such  as  we  have 
heretofore  suggested. 

Plate  2 shows  the  curves  and  strokes  that  it  would  be 
well  to  practice.  Parallel  lines  must  be  drawn  across 
the  surface  of  material  on  which  one  is  practicing,  and 
then  some  time  given  to  acquiring  ease  and  accuracy 
in  cutting  the  curves  and  lines.  If  one  has  a difficulty 
in  procuring  the  metals  that  I have  mentioned  for 
practicing,  a good  substitute,  and  one  I should  strongly 
recommend,  is  a piece  of  zinc.  Take  a thin  piece  of 
board,  say  the  cover  of  a cigar  box,  about  4^x6  inches, 
and  on  it  fasten  a piece  of  zinc  about  one  inch  smaller 
all  around.  Draw  your  parallel  lines  with  a hard 
substance,  for  instance  a large  needle  fastened  into  a 
handle  with  which  to  scratch  the  letter  into  the  zinc, 
taking  the  necessary  care  as  to  to  form  and  space. 
The  outlines  ffius  scratched  should  be  of  the  faintest 
description,  and  close  attention  be  given  to  the  text 
before  you,  presuming  as  I do,  that  you  are  making 
use  of  a text-book.  Plate  3 will  give  you  some  idea  fo 
what  I have  said. 

You  will  observe  that  the  graver  is  held  in  such  a 
manner  that  the  handle  rests  in  the  palm  of  the  hand 
and  that  the  thumb  and  index  and  adjoining  fingers 
grasp  the  steel  in  such  a way  as  to  give  force  and  control 
to  the  hand.  The  metals  should  be  placed  on  a pad 
resting  upon  a turntable,  which  acts  on  a pivot,  and  thus 
perfect  control  is  had.  These  things  can  be  made  by 
any  one  having  the  slightest  knack,  or  purchased  at  an 
engraver’s  supply  store.  It  would  be  well,  indeed,  it  is 
essential,  for  every  one  to  supply  himself  with  such 
articles,  as  there  are  so  many  things  that  cannot  be  held 
in  the  hand,  and  even  moderately  good  work  be  pro- 
duced. It  is  advisable  for  e\ vry  one, to  ge^  tools  already 


GENERAL  LETTER  ENGRAVING.  1 7 

prepared,  as  it  requires  some  skill  and  practice  to  be 
able  to  temper  them  properly  and  sharpen  them  as  they 
should  be. 

The  square  graver  in  its  rough  state,  ranges  from  four 
to  seven  inches  in  length.  Between  4^  and  5 inches, 
including  handle,  is  the  best  size,  as  it  can  be  used  for 
almost  any  style  of  work.  The  bent  graver  will  be  found 
to  be  the  easiest  to  manipulate,  as  the  hand  will  be  in 
nowise  cramped,  but  on  the  contrary,  will  be  raised  so 
that  the  fingers  and  wrist  will  be  unconstrained  and  there 
will  be  concert  of  action  between  the  metal  resting  on  the 


Plate  3. 


swivel  and  the  graver,  as  both  can  be  worked  simultane- 
ously. For  convenience,  it  would  be  advisable  to  have 
the  handle  of  the  graver  flat  on  one  side,  so  that  when 
discarded  after  use,  it  will  not  roll  off  the  table  and  prob- 
ably fall  to  the  floor,  breaking  the  carefully  prepared 
point. 

Before  proceeding  further,  I would  like  to  offer  a few 
^ggestions  as  to  the  treatment  of  the  graver,  i.  e.,  how 
to  sharpen  and  the  most  approved  kind  of  stone  in  use 
for  the  purpose.  Recent  improvements  in  sharpening 
instruments  have  facilitated  matters  so  that  now  it  is  an 
easy  task  to  keep  tools  in  first-class  order. 


2 


I 8 GENERAL  LETTER  ENGRAVING. 

The  stoning  will  require  some  little  practice  before 
satisfactory  points  and  edges  can  be  put  on  tools.  But  in 
this,  as  in  all  else,  skill  can  be  acquired. 

An  oil  stone  must  be  used,  the  graver  placed  almost 
perpendicular  thereon,  and  moved  rapidly  back  and  forth, 
thus  the  face  is  made,  and  a little  rubbing  on  the  two 
lower  sides  is  necessary  to  smooth  off  any  roughness  that 
may  exist,  and  perfect  a keenness  to  its  cutting  angles. 
However,  the  angles  must  be  made  true  one  to  another 
to  warrant  accuracy  in  the  work. 

The  stone  I recommend  most  highly  is  a fine  Arkan- 
sas as  a perfect  finisher,  but  should  the  tool  be  too  dull,  or 


Plate  4 . 


too  highly  tempered,  then  a stone  known  as  Wachita 
should  be  used.  It  will  be  found  to  do  its  work  well,  and 
a little  touching  up  on  the  Arkansas  will  put  the  tool  in 
proper  condition.  Sperm  oil  is  good  fpr  stoning,  but  I 
use  olive  oil. 

We  have  in  Plate  4,  a straight  graver  at  fig.  1;  you 
will  observe  that  its  end  or  face  is  beveled  to  an  angle  of 
45  degrees,  A , which  is  considered  to  be  a correct  pitch. 
It  is  square  in  tranverse  section,  figs.  2 and  3.  The  end 
or  face  may  become  varied  either  on  account  of  hardness 
of  temper  or  the  material  upon  which  the  work  is  to  be 
done.  This  experience  must  teach  you.  Plate  3 shows 
how  the  graver  should  be  held.  Plate  5 shows  the  paral- 
lel and  horizontal  lines  that  a beginner  should  practice 


! 


GENERAL.  LETTER  ENGRAVING. 


l9 


until  he  is  able  to  cut  light  or  deep  grooves.  In  curved 
lines  the  pivot  will  be  a great  assistance,  for  once  you  are 
able  to  cut  light  or  heavy,  the  hand  controlling  the  pivot 
will  be  as  a rudder,  while  the  other  hand  manages  the 
graver.  Straight  lines  are  cut  by  pushing  the  graver 
forward,  and  are  made  light  or  deep  by  elevating  or 
lowering  the  graver.  The  arrows  show  the  course  the 
tool  should  take.  Learn  to  cut  a straight  line  lightly  and 
of  equal  size  from  end  to  end.  This  should  be  practiced 


Plate  5. 


well  before  attempting  to  cut  letters,  for  once  a cut  is 
made  in  the  metal,  it  is  difficult  to  correct  where  an  error 
has  been  made,  especially  if  the  incision  has  been  too 
large.  In  making  an  incision  in  the  plate  or  metal  the 
tool  should  be  turned  the  merest  trifle  to  the  right,  thus 
producing  a level  groove  as  in  Plate  4,  fig.  3 and  letter 
C.  To  produce  the  bevel  it  is  necessary  to  incline  the 
graver  and  the  cut  is  easy  and  clean,  and  considerable 
importance  should  be  given  to  this.  If  the  graver  is  held 
tightly  and  used  in  position  as  in  Plate  4,  fig.  2,  letter  B , 


20  GENERAL.  LETTER  ENGRAVING. 

it  plows  into  the  metal  making  an  uneven  and  ragged  cut, 
the  burrs  being  readily  detected  by  the  touch.  To  effect 
a delicate  line  it  is  necessary  to  keep  the  point  of  the 
graver  almost  parallel  with  the  metal  upon  which  you  are 
working. 

Plate  4,  figs.  2 and  3 show  the  gravers  cutting  a piece 
of  metal. 


The  grooves  at  B show  the  angular  cut,  at  C the 


Plate  6 


bevel  cut.  Curves  and  ovals  which  form  the  principal 
parts  of  script  lettering,  should  be  commenced  by  cutting 
the  hair  lines  without  any  swell  or  shading — see  plate  6, 
fig.  5.  The  reason  for  selecting  these,  is  that  they  are 
common  in  use,  some  portions  are  sketched  and  others 
cut,  showing  how  an  engraver  would  begin  the  work. 
The  body  strokes  are  cut  first,  the  hair  lines  finished  after ; 
careful  spacing  is  necessary;  as  there  are  but  few  definite 
rules  to  guide  one  in  formation  regarding  spacing  with 
the  lower  case,  you  can  gain  an  idea  with  but  little 


GENERAL  LETTER  ENGRAVING. 


21 


explanation.  In  the  lettering  we  find  the  height  correct, 
though  the  space  between  some  letters,  if  you  notice,  is 
greater  than  others,  for  instance  in  the  word,  Died,  the 
space  between  the  body  strokes  of  ie,  is  less  than  in  the 
word,  Days , between  ay;  this  is  attributed  to  the  letter’s 
hair  line,  which  could  not  be  crowded  between  the 
strokes  of  the  former,  yet  at  first  glance,  the  hair  lines 
appear  to  be  equalized  throughout.  The  capital  letters 
of  this  style  are  not  so  much  at  fault.  The  curvatures 
are  the  principal  features,  they  should  be  made  in  a flow- 
ing style  and  with  as  few  curves  as  possible.  However, 
equalization  of  spacing  is  particularly  noticeable  when 
attention  is  called  to  it,  and  it  is  much  more  apparent  in  the 
Roman  letters  than  in  the  Script,  where  the  letters  are 
not  full  or  square,  as  you  will  observe  between  the  L,  O 
and  P in  plate  6,  fig.  6.  We  see  this  in  type,  which  can- 
not be  remedied  by  taste,  but  must  be  set  as  they  are 
cast.  In  engraving  however,  we  are  not  restricted  in 
this  way,  but  are  free  to  space  our  letters  according  to 
the  manner  in  which  they  appear  best.  To  substantiate 
what  I say,  I quote  from  Thompson’s  Roman  Alphabet, 
an  indisputable  authority : “ The  value  of  skill  in  design, 

and  of  rules  for  composition  and  harmony  in  distribution 
of  lines,  even  in  sign-writing,  cannot  be  overstated. 
Every  reader  of  the  printed  page,  who  has  an  eye  for 
symmetry  and  graduation  in  the  form  cannot  but  take  of- 
fense at  the  want  of  harmony  in  ordinary  print.  This  is  how- 
ever, unavoidable.  Perfect  legibility  and  accuracy  are  of 
course,  the  first  consideration;  this  being  attained,  mere 
beauty  of  lines  is  less  important  and  indeed,  impossible. 
The  metal  or  wooden  type  or  blocks  are  rigid  and  un- 
yielding. They  must  be  of  uniform  size,  and  inasmuch 
as  their  combinations  are  infinite,  there  are  no  means  of 
accommodating  their  lines  so  as  to  produce  that  illusion 
which  alone  can  give  harmony  of  effect.  For  instance, 


22  GENERAL,  LETTER  ENGRAVING. 

the  letters  being  either  curved  or  angular,  they  must  be 
often  compressed;  at  other  times  widely  separated  in 
their  main  lines  from  each  other,  the  result  of  which  is, 
that  the  lines,  perpendicular  or  horizontal,  appear  now 
crowded,  now  sparse,  and  display  too  much  or  too  little 
background,  or,  as  the  printers  say,  too  much  white  paper. 
At  this  point,  art  steps  in,  and  the  skillful  sign-writer  can 
preserve  harmony  by  the  use  of  illusion ; all  pictorial  art 
is  dependent  on  illusion.  The  writer  who  stamps  mathe- 
matical lines  is  a mechanic;  the  artist  who  makes  judicious 
use  of  perspective  by  shading;  even  the  application  of 
different  spacing,  increasing  or  lessening  the  actual  dis- 
tances, will  keep  the  eye  to  a harmonious  composition. 
The  sign-writer’s  ability  to  describe  curved  or  straight 
lines  and  to  master  a variety  of  styles,  is  only  half  his 
business.  When  the  mechanical  handicraft  is  perfected 
by  practice,  then  we  come  to  the  higher  art  of  distribution 
and  arrangement.”  Patience  must  be  exercised  in  prac- 
ticing cutting.  The  lines  will  at  first  be  irregular,  and 
too  deep,  or  you  will  slip  or  cut  beyond  the  prescribed 
limits  of  the  parallel  lines,  which  serve  as  both  guide  and 
guard.  But  these  and  all  other  difficulties  are  obviated 
by  practice ; each  mistake  will  have  the  effect  of  making 
you  more  careful,  and  unless  you  become  despondent, 
success  will  soon  reward  your  efforts.  Endeavor  always 
to  use  good  judgment  in  elevating  or  lowering  your 
hand  according  as  you  wish  to  produce  a fine  or  heavy 
line,  deep  or  shallowo  Bear  in  mind  that  the  tools  must 
be  kept  in  excellent  order,  and  that  the  lettering  must  be 
carefully  traced  on  the  plate.  Accustom  yourself  to 
holding  the  tool  correctly  and  to  use  both  hands  in  manip- 
ulating the  work;  sit  easily  at  the  bench  or  table,  and 
have  both  elbows  rest  thereon.  Look  to  these  appar- 
ently insignificant  things;  they  are  valuable  and  will 
repay  you  for  their  observance. 


GENERAL  LETTER  ENGRAVING 


23 


CHAPTER  III. 


RACTICAL  knowledge  of  your  work  is  a mechani- 


cal agent,  but  knowledge  without  practice  is  mere 
theory.  Taste  in  some  is  intuitive,  in  others  acquired,  and 
yet  it  enters  largely  into  the  question  of  success  in  en- 
graving, whether  of  letters  or  of  general  engraving.  It 
decides  the  style  of  letters,  the  size,  width  and  bevel; 
depth  of  strokes  or  limbs,  scrolls  and  embellishments,  all  of 
which  have  much  to  do,  not  only  with  beautifying,  but 
also  in  finishing  the  letters ; for  discretion  must  be  used  in 
the  many  different  articles  upon  which  lettering  is  to  be 
done  where  there  is  more  or  less  wear:  for  instance,  the 
lettering  of  teaspoons  as  compared  to  that  on  a vase  or  arj 
inscription  on  a watch,  as  opposed  to  one  on  a cane.  On 
the  spoons  and  cane,  the  lettering  or  inscription  should 
be  a trifle  deeper  than  on  the  vase  or  on  a watch  cap; 
this  comparison  of  course  holds  good  in  all  cases.  Expe* 
rience  will  teach  you  more  thoroughly  than  any  instruc- 
tion or  suggestion  that  I may  give  or  offer.  Cultivate 
taste  and  seek  to  perfect  it.  It  is  averred  that  nothing 
terrestial  is  or  can  be  perfect.  Well,  if  this  be  so,  then 
seek  to  be  as  perfect  as  anything  earthly  can  be.  Design, 
size  and  equalization  of  lettering  depend  on  taste,  unless 
where  the  party  wishing  the  work  done  gives  specific 
instructions  as  to  its  execution,  then  of  course  you  must 
follow  instructions.  Never  attempt  to  engrave  before 
first  laying  out  your  work,  even  experts  should  not  hazard 
this.  The  plate  or  article  to  be  engraved  should  be  prop- 
erly prepared,  but  of  that  I shall  speak  anon.  Let  us  now 
take  up  a subject  which  I have  already  touched  upon 


24  GENERAL  LETTER  ENGRAVING. 

viz:  Coffin  plate  lettering.  The  accompanying  plate 

will  show  the  three  tools  used  in  this  class  of  work.  Figs, 
2,  4,  6,  show  the  under  cutting  side  of  each  and  are 
stoned  off  on  their  faces  A A A,  at  about  the  same 
angle  given  to  the  square  graver  spoken  of  heretofore. 
Fig.  1 represents  a flat  tool  having  the  form  of  a knife 
sharpened  on  its  underside,  and  can  be  stoned  flat  to 
different  widths  at  point  2.  Fig.  3 is  an  auglet  took 
oblong  in  diameter,  its  swell  at  the  point,  4,  is  stoned  to 
give  keenness  to  its  cutting  angles.  Fig.  5 shows  a 


Plate  7. 


knife-shaped  lining  tool  having  grooved  lines,  (o),  on  the 
under  side  running  the  entire  length;  some  blades  have 
fine,  others  coarse  lines. 

Before  entering  into  a detailed  explanation  of  the  man- 
ner of  using  the  above  described  tools,  I wish  to  say  some- 
thing of  the  method  of  treating  coffin  plates.  As  a rule 
the  words  “died,  aged,”  etc.,  are  done  in  script  and  cut 
in  opposite  semi-circles,  and  the  name  on  horizontal  line 
in  center,  in  any  of  the  many  styles  from  which  you 
can  select,  Roman,  Old  English,  Mediaeval  or  ornamental 
texts.  The  manner  of  treating  the  center  line  may  be 


GENERAL  LETTER  ENGRAVING. 


25 


varied  as  shown  in  plate  8.  Again,  it  will  be  found 
in  the  circular  line  in  placing  the  name  at  top.  This 
is  seldom  done,  however,  but  the  plan  is  followed 
which,  by  the  way,  is  not  much  in  use  now,  its  substitute 
being  similar  to  the  one  we  herewith  present.  An 
important  feature  is  distinctiveness,  avoiding  too  much 
flourish  or  embellishment;  in  fact,  in  my  judgment,  plain- 
ness and  simplicity  are  more  tasty,  and  a coffin  plate 
lettered  on  three  horizontal  lines,  the  name  in  the  center 
in  Roman  caps,  and  the  others  in  italic,  would  be  vastly 
more  in  keeping  than  a fancilv  designed  plate.  Rich 
and  beautiful,  but  not  gaudy,  should  be  the  judgment 
passed  upon  it. 

All  coffin  plates,  whether  of  solid  silver,  plated  or 
white  metal,  are  so  highly  finished  that  they  have  a 
lustre  which,  if  the  sun  strikes,  will  produce  the  dazz- 
ling effect  of  a sun’s  ray  on  a mirror.  The  eye  can- 
not endure  it,  and  of  course  you  cannot  proceed.  This 
can  be  overcome  to  an  extent  by  placing  before  you  a 
screen  made  of  white  tissue  paper  or  fine  muslin,  which 
will  deaden  the  lustre.  Owing  to  the  high  finish,  a 
great  deal  of  diligence  must  be  exercised  in  the  hand- 
ling, as  even  the  touch  may  scratch  or  mar  it.  The 
following  suggestions  then,  in  the  preparation  and  treat- 
ment of  the  plate,  should  be  carefully  followed.  If  the 
finger  tips  are  smooth,  you  can  run  the  fingers  through 
your  hair  and  enough  of  the  natural  oil  will  adhere  to 
them  to  cover  the  plate,  and  by  a process  of  gently 
patting  all  over  the  surface,  you  will  produce  a dull- 
ness upon  which  you  can  design,  but  with  this  you  may 
mar  the  surface;  this  method  is  used  more  for  smaller 
articles.  If  the  hair  will  not  supply  the  oil,  an  easy  and 
better  substitute  is  ordinary  brown  soap.  Dip  the  fin- 
ger in  water  and  rub  it  over  the  soap  a few  times  until 
sticky,  then  apply  it  by  patting,  to  the  surface  of  the 


2 6 


GENERAL  LETTER  ENGRAVING. 

plate.  In  tracing  upon  a plate  thus  prepared,  a pencil 
or  steel  point  should  not  be  used,  but  a piece  of  box- 
wood sharpened  to  a fine  point,  will  do  the  work  with- 
out the  damage  of  scratching  the  plate.  If  a mistake 
is  made  in  tracing,  it  can  be  readily  detected  and  easily 
rectified.  After  your  engraving  is  perfected  you  can 
remove  the  coating,  by  allowing  water  to  flow  over  it. 
After  it  is  dry,  use  a fine,  soft  chamois,  and  the  plate 
will  appear  with  all  its  original  polish,  unscratched  and 
beautiful. 


Plate  8. 

In  plate  8,  letters  are  outlined  with  the  square  graver, 
commencing  with  the  first  letter  as  it  is  drawn,  the  body 
strokes  throughout,  then  the  smaller  portions.  The  plate 
should  be  fastened  on  a piece  of  wood,  cigar-box  cover  for 
instance,  and  resting  on  a revolving  pad  as  I have  on  a 
former  occasion  suggested.  The  plate  should  be  turned 
around  lengthwise  in  front  of  you  to  facilitate  the  cutting 
of  the  strokes  from  top  to  bottom.  This  done,  the  plate 
is  reversed  and  the  other  portions  are  finished  in  a similar 
manner.  I am  now  speaking  of  the  name  that  will  occupy 
the  centre  of  the  plate,  but  the  remarks  will  hold  good  to 


GENERAL  LETTER  ENGRAVING.  27 

the  entire  lettering.  To  finish  the  letters,  cross-shade  with 
a coarse  lining  tool,  (i)  or  line  them  length wise, (2) . I fre- 
quently, for  haste,  wriggle  the  strokes,  and  when  executed 
nicely,  it  has  a pretty  effect  (5).  The  method  of  doing  it,  is 
rocking  the  graver  from  side  to  side  quickly  throughout 
the  stroke.  Before  the  shading  and  wriggling  is  all  com- 
pleted, proceed  to  cut  with  the  narrow  flat  tool,  the  right 
side  of  each  letter,  (3).  A square  graver  can  be  used  for 
this  purpose,  but  the  cutting  may  not  present  the  same 
evenness.  These  bright  cuts  will  greatly  add  to  the  ap- 
pearance of  the  lettering,  and  so  will  a few  bright  dots  cut 
with  the  auglet  tool  distributed  evenly  upon  the  frosted 
strokes,  (4).  The  lower  cutting  portion  of  the  tool  should 
be  nicely  polished  to  produce  an  effect.  A little  diaman- 
tine  used  on  a flat  piece  of  boxwood  will  produce  the 
polish.  The  tool  should  be  held  carefully,  or  the  cutting 
angles  will  be  rounded  during  the  process. 

When  the  name  is  completed,  the  upper  line  should  be 
sketched,  and  the  body  strokes  of  the  letters  cut  down- 
ward, the  entire  length  of  wording,  with  a square  graver. 
The  manner  of  proceeding  is  to  start  from  the  upper  to 
the  lower  parallel  line,  and  so  on  with  all  the  letters.  The 
hair  lines  are  then  cut  as  you  read  the  inscription  proper 
from  the  lower  parallel  line  upwards.  The  lower  circular 
line  of  inscription  is  similarly  treated.  Having  finished 
the  lettering,  begin  the  work  of  embellishing,  cutting  the 
flourishes  that  encircle  the  entire  lettering  from  top  to 
bottom,  carefully  preserving  symmetry,  and  making  only 
few  and  delicate  scrolls.  There  is  a knack  in  cutting  lower 
case  script  which,  if  once  acquired,  will  enable  you  to  cut 
with  one  sweep  the  crescent  shape  body  strokes  shown  in 
plate  8,  fig.  6.  In  making  the  incision,  the  point  of  the 
graver  is  started  from  the  top  as  though  to  cut  a hair  line ; 
urge  the  graver  forward  and  gradually  incline  it  to  effect 
the  level  cut  and  thus  form  the  crescent.  The  method  is 


28 


GENERAL  LETTER  ENGRAVING. 


to  push  the  graver  forward  and  upward  quickly;  that  is 
when  the  point  of  the  graver  approaches  the  lower  end  of 
stroke,  it  should  be  lifted  up  in  such  a manner  as  to  leave 
no  chip  coiled  up,  though  this  little  burr  can  be  readily 
removed  by  using  the  cutting  angle,  sharp  side  of  the 
graver.  Very  often  the  little  chip  will  cling  to  the  point 
of  the  graver  and  interfere  in  making  a cut.  In  such  a 
case,  remove  it  by  jabbing  the  point  into  the  end  of  a 
piece  of  hard  wood. 

If  you  will  but  examine  a piece  of  engraving  with  a 
magnifier,  the  method  of  cutting  the  strokes  will  become 
quite  evident.  Letters  with  loops  like  b f h K L,  even 
those  of  df  t,  are  commenced  and  cut  from  above  the 
parallel  lines,  and  so  with  all  the  strokes  or  portions  there- 
of running  below  parallel  lines  downward.  The  terminal 
strokes  of  g and  y,  are  cut  to  terminate  in  a hair  line, 
similar  to  a line  of  beauty. 

With  these  instructions,  I would  suggest  that  in  pur- 
suing this  study,  persons  must  not  be  in  too  much  of  a 
hurry.  One  point  of  knowledge  gained,  one  difficulty 
thoroughly  mastered,  are  mile-stones  on  the  road  to  suc- 
cess, but  to  know  a little  about  a good  many  things,  and 
to  have  a confused  idea  of  the  whole  is  simply  standing 
still. 

One  who  proposes  to  make  his  mark  as  an  artist,  an 
author,  or  a mechanic,  must  go  about  his  work  slowly  and 
surely  until  he  has  mastered  it  thoroughly.  It  is  quality 
that  tells,  quantity  goes  for  nothing.  It  is  easy  enough  to 
cover  any  amount  of  canvas  if  brushes  and  paint  be  at 
hand.  Some  men  cover  miles  of  it  in  a life  time,  and  have 
done  nothing  worth  mentioning.  It  is  the  careful,  watch- 
ful, painstaking  artist  whose  works  are  sought  for  and 
whose  small  squares  are  secured  as  gems. 

The  same  thing  holds  true  in  the  mechanical  and  use- 
ful arts;  a man  who  will  take  time  to  thoroughly  master 


GENERAL  LETTER  ENGRAVING. 


29 


every  detail  of  his  handicraft,  will  becomean  expert.  To 
be  in  a hurry  about  it  would  be  fatal,  but  to  study  each 
new  feature  carefully  and  learn  it  thoroughly,  means  suc- 
cess at  last,  no  matter  how  long  it  takes. 

From  what  I have  already  said,  the  systematic  course 
and  manner  of  procedure  can  be  readily  understood;  and 
to  the  young  engraver  I will  say,  do  not  overreach  your 
mark  by  taking  up  the  practice  of  cutting  before  you  have 
mastered  the  formation.  This  is  a drawback  in  learning 
this  business,  and  is  the  main  reason  why  many  have  not 
succeeded  so  well.  Good  alphabetical  books  are  the  prin- 
cipal thing,  but  it  is  difficult,  I know,  to  acquire  some  por- 
tions of  letters  without  some  one  to  guide  you  and  to  cor- 
rect your  errors  and  explain  the  point  so  as  to  improve 
your  style.  You  are  apt  to  neglect  the  idea  of  the  broken 
lines,  so  essential  in  the  lettering;  it  is  not  only  necessary 
in  designing  but  in  the  cutting,  as  you  do  not  cut  the  let- 
tering as  you  write  it,  but  portions  of  each  letter  on  a line 
in  one  continuous  way,  and  the  other  portion  should  be 
finished  in  a similar  manner;  now  if  you  have  mastered 
your  letters,  you  will  know  just  what  portions  to  cut  for 
rapid  work,  for  having  the  knowledge  of  correct  forma- 
tion you  are  enabled  to  observe  any  imperfections  which 
can  be  easily  remedied,  at  the  time,  with  the  graver.  If  a 
person  attempts  engraving  without  having  the  idea  of  cor- 
rect formation,  he  undoubtedly  experiences  difficulty  in 
the  cutting;  he  acquires  habits  which  become  so  estab- 
lished that  the  simplest  obstacles  are  the  most  trouble- 
some. 

I never  start  a scholar  at  engraving  at  the  outset,  but 
first  teach  him  the  three  alphabets,  viz..  Roman,  Script 
and  Old  English,  together  with  the  lower  case  letters  of 
these  alphabets ; he  acquires  the  formation  by  drawing  in 
a copy  book,  allowing  for  the  capitals  the  space  of  three 
ruled  lines,  and  for  the  lower  case  but  two  lines.  The 


30 


GENERAL,  LETTER  ENGRAVING. 


Plate 


GENERAL  LETTER  ENGRAVING. 


31 


lettering  can  be  learned  in  a short  time,  but  it  is  advisable 
to  draw  a little  while  every  other  day,  for  the  reason 
that  it  becomes  tedious  to  be  at  work  steadily,  and  the 
pupil  is  likely  to  be  careless  in  the  formation ; as  in  Script, 
he  will  design  his  lettering  as  he  would  write  them;  if  it 
be  in  Roman  style,  instead  of  keeping  the  letters  perpen- 
dicular, he  has  a tendency  to  lean  them  either  to  the  right 
or  to  the  left,  and  when  a number  of  letters  are  in  a line 
the  irregular  strokes  are  perceptible  at  a glance.  The 
width  and  spacing  of  letters  are  controlled  by  the  eye.  I 
usually  mark  off  the  distances  with  a pencil,  making  dots 
for  guides  when  lettering,  so  I will  know  the  relative 
space  and  position  the  letters  are  to  occupy,  thus  avoiding 
crowding  of  letters  in  one  place,  and  the  bad  effect  of 
spreading  them  in  another.  The  study  of  good  speci- 
mens of  lettering  from  text  books  will  give  the  propor- 
tions, also,  the  peculiarities  of  the  different  parts  can  be 
discerned  by  the  compasses.  In  plate  9 you  observe  the 
various  points  to  which  I will  refer. 

It  is  very  important  to  anatomize  the  lettering,  and  thus 
become  familiar  with  every  limb  and  portion,  so  as  to 
readily  design  them  without  referring  to  the  book.  If  this 
skill  is  obtained  it  is  apparent  that  you  can  combine  the 
letters  into  most  any  fancy  form.  Ornamental  lettering  is 
subject  to  many  changes.  Their  varied  forms  will  admit 
this  more  than  any  other  style.  The  upper  portions  of  B , 
R,  P , fig.  1,  are  so  similar  that  it  requires  but  a slight 
alteration  to  their  terminal  strokes  to  make  one  of  the 
others.  The  rule  for  capital  letters  in  all  styles  (I  will  refer 
to  the  Roman,  as  it  is  the  plainest),  is  to  make  the  lower 
portion  larger  and  wider.  You  will  notice  this  in  the 
snace  below  the  center  hair-line  of  H,  though  the  angular 
terminal  stroke  of  K will  not  admit  it,  but  in  the  B , 7?,  S , 
i*  is  readily  perceived.  The  central  horizonal  line  of  P 
should  be  the  same  distance  below  the  center  line  as  the 


32 


GENERAL  LETTER  ENGRAVING, 


other  letters  are  above.  The  A is  made  a shade  larger 
at  the  base  than  the  V is  at  the  top,  and  so  are  other  let- 
ters of  this  style  compared.  The  O , C,  G , D , are  simi- 
larly constructed,  the  curved  strokes  of  these  letters  being 
patterned  after  the  O.  The  M.  W.  are  the  two  widest 
letters.  TheoS  is  considered  the  hardest  letter  to  design. 
The  principal  feature  of  lettering  is  curvatures.  We 
obtain  these  ideas  from  the  Roman  and  practice  them 
with  the  Script.  O is  the  letter  which  we  are  usually 
guided  by,  as  the  Script  alphabet  is  constructed  upon  an 
oval  form.  Broken  curved  lines,  are  the  fundamental 
principle  by  which  the  letters  are  designed  and  engraved. 

In  fig.  2,  you  will  observe  that  the  portion  of  the  curved 
strokes  in  B,  R,  P,  in  some  respects  resemble  those 
above.  The  letter  D has  the  largest  stroke  of  any  of  the 
letters.  The  body  strokes  of  E are  similar  to  the  reverse 
of  B.  To  distinguish  I from  J,  the  scroll  should  be 
placed  where  the  dots  are  in  front  of  the  main  body  stroke. 
The  strokes  of  A,  M \ V \ W,  compare,  although  the  first 
heavy  stroke  of  M , conforms  more  with  the  last  heavy 
stroke  of  W,  though  not  so  great  an  angle  as  JV.  Ideas 
can  be  gained  by  considering  these  differences  which  will 
enable  you  not  only  to  cultivate  a taste  in  curving,  but  the 
relative  width  of  each  individual  letter. 

Fig.  4 will  show  portions  of  curved  strokes  that  can  be 
used  for  either  letter.  The  swell  of  S is  but  the  reverse 
of  the  swell  of  O.  Observe  fig.  3,  and  similar  compari- 
sons will  apply,  and  all  the  long  loop  strokes;  with  Z,  the 
same  symmetry  will  be  observed  in  the  terminal  strokes 
below  the  line.  The  practice  of  curves,  fig.  4,  will  aid  in 
the  formation,  the  swell  at  A,  Z,  C,  being  the  chief  points 
used  throughout  the  lettering.  In  fig.  5,  the  body  stroke 
in  last  letter,  Old  English  S , is  somewhat  similarly  curved 
as  the  Roman  S.  The  Old  English  letters,  C,  <9,  O , T, 
are  of  crescent  form.  M , W,  compare  in  body  strokes, 


GENERAL  LETTER  ENGRAVING. 


33 


as  well  as  other  letters  of  this  style;  with  the  Roman,  the 
strokes  being  perpendicular  and  broad,  the  upper  and 
lower  angular  portions  point  from  the  dotted  lines. 

You  should  remember  that  in  the  cutting,  especially  of 
script,  the  body  strokes  should  be  cut  light,  smooth  and 
regular,  by  inclining  the  graver  sidewise,  which  is  the 
easier  way  to  form  the  curved  portions.  In  either  style, 
Roman  or  old  English,  the  broader  strokes  are  filled  by 
shading.  For  such  engraving  as  coffin  plates,  I shade 
with  a lining  tool  or  a flat  tool,  and  wriggle  the  strokes 
throughout.  This  ornamentation,  when  skilfully  and 
readily  executed;  is  much  more  effective  for  this  class  of 
work  than  cross-lining  the  strokes  with  a square  graver. 
However,  if  these  letters  are  to  be  cut  upon  harder  metal, 
such  as  gold  or  silver,  they  can  be  ornamented  much  finer 
by  using  several  kinds  of  tools  which  would  depend  en- 
tirely upon  the  style  of  embellishment  selected;  but  coffin 
plate  work  requires  to  be  done  rapidly.  The  price  regu- 
lates the  skill,  and  whatever  style  is  requisite  for  the  out- 
lined skeleton  letters.  These  should  be  nicely  propor- 
tioned, but  if  the  designing  is  neglected  irregularities  of 
form  are  likely  to  result.  For  instance,  if  you  were  re- 
quired to  cut  a name,  it  would  be  annoying  to  be  obliged 
to  copy  from  your  text  book  every  time,  and  perhaps 
then  it  would  be  difficult  to  make  perfect  letters.  On  the 
other  hand,  if  you  constantly  study,  although  it  takes  three 
to  six  months  of  diligent  practice  in  both  designing  and 
cutting,  you  would  become  independent  of  a copy  and 
make  your  letters  almost  as  readily  as  you  would  write 
with  a pen;  but  do  not  stop  at  this;  you  must  become 
perfect  in  the  proper  arrangement  of  lettering;  remember 
that  the  greatest  obstacle  to  success  is  lack  of  patience. 
Persevere  and  you  will  conquer.  Criticise  your  work. 
If  your  cutting  does  not  seem  exactly  right,  a little  ragged, 
deep,  though  necessary  skill  you  think  has  been  applied; 


s 


3$ 


GENERAL  LETTER  ENGRAVING. 


the  lettering  would  be  apt  to  run  beyond  the  limits  of 
space.  We  can  take  a certain  space  and  place  either 
name  within  it  without  the  fear  of  falling  short  or  ex- 
tending too  far  on  one  side,  by  drawing  perpendicular 
center  lines,  as  you  will  observe  in  the  examples  Com- 
mence with  the  middle  letter  and  space  the  others  each 
way.  This  method  will  appear  unnatural  at  first,  but  you 
will  find  it  a sure  method  of  procedure.  It  will  be  al- 
most impossible  to  acquire  the  latter,  without  painstaking. 
Each  and  every  little  portion  must  be  arranged  syste- 
matically. This  is  the  source  of  rapid  advancement  and 
is  the  principle  by  which  you  are  to  be  guided  in  other 
styles  of  letters  which  require  to  be  entwined.  Com- 
plementary curves  within  proper  spaces  add  to  the  beauty 
of  a cipher  or  monogram.  All  must  be  governed  by 
good  taste  and  judgment.  The  object  is  not  only  to  de- 
sign in  a mechanical  way,  but  to  create  a style,  as  in  Aged 
and  Marie.  Neither  these  nor  other  specimens  can  be 
learned  without  persistent  efforts.  Learn  them  slowly  at 
first  and  it  is  with  practice  that  they  are  cut  quickly 
afterwards. 

You  may  perhaps  say  that  you  have  carefully  con- 
sidered these  matters,  but  you  are  still  discouraged  be- 
cause you  do  not  make  much  headway ; the  work  is  slow, 
etc.  A friend  may  exhibit  to  you  a plain-cover  silver 
tobacco-box,  on  one  side  of  which  is  a monogram,  and  on 
the  reverse  side  an  inscription. 

You  exclaim:  “Ah,  that  is  an  excellent  idea,  and  the 

execution  neat  and  artistic.  I have  not  tried  to  design 
anything  like  that.  But  I can  take  an  impression  of  that 
inscription  with  a piece  of  paper,  transfer  it  to  a piece  of 
polished  metal,  and  endeavor  to  imitate  the  cutting.  If  I 
take  time  and  great  pains  I don’t  see  why  it  can’t  be 
done.  I will  try  it,  and  if  my  first  performance  is  unsatis- 
factory, I will  do  it  over  again.”  You  take  a piece  of 


GENERAL  LETTER  ENGRAVING. 


37 


cap  paper,  two  thicknesses;  cut  it  to  cover  the  inscription 
or  monogram,  leaving  enough  margin  to  hold  it  when 
laid  upon  the  article;  but  before  you  dampen  one  piece  of 
the  paper  by  licking  your  tongue  over  one  side,  you  must 
prepare  the  article.  If  there  is  nothing  else  handy  you 
can  take  a little  piece  of  brown  soap,  which  you  rub  the 
index  finger  over  and  get  it  sticky  (but  a prepared  tallow 
substance  is  better);  then  you  rub  the  substance  into  the 
cuts  and  carefully  wipe  off  the  surface  of  the  article  with 
a dampened  piece  of  tissue  paper,  but  not  too  much,  as 
there  is  danger  of  wiping  the  grease  out  of  the  cuts. 
Then  lay  the  dampened  piece  of  cap  paper  over  the 
article  and  the  dry  piece  on  top.  These  are  held  over 
firmly  by  the  fingers  of  the  left  hand  so  the  paper  will  not 
move,  while  with  the  right  hand  use  a burnisher,  and  go 
over  carefully  until  you  think  you  have  all  the  lines  im- 
pressed. This  much  completed,  catch  the  corner  of  the 
paper  and  gradually  raise  it  off.  Next  cut  the  paper  to 
the  size  required;  then  lay  in  position  on  the  polished 
surface  of  the  plate  to  be  engraved  and  press  lightly  with 
your  index  finger  until  you  think  the  print  is  made  per- 
fectly. Then  lift  off.  All  this  requires  care.  If  the 
print  is  too  obscure,  wipe  the  marks  off  with  a chamois 
skin,  and  lay  the  paper  in  position  again;  but  this  time  go 
over  it  gently  with  a burnisher  and  get  a clearer  proof. 
This  is  simple  enough,  and  after  a little  practice  can  al- 
ways be  readily  done,  though  if  the  print  is  likely  in 
handling  to  become  blurred,  you  can  scratch  the  letters 
in  with  a steel  point;  then  produce  the  cuts,  according  to 
your  former  practice. 

It  can  be  seen  how  you  become  interested  from  one 
thing  to  another.  Your  enthusiasm  develops  as  you 
improve.  Your  first  lessons  may  be  hard  and  become 
tiresome,  but  stick  at  them  until  you  know  they  are  simi- 
lar to  those  in  your  text  book;  then  engrave  them, 


GENERAL  LETTER  ENGRAVING. 

learning  by  repeated  strokes  till  you  gradually  become 
accustomed  to  the  work.  Day  after  day  you  cut  lines, 
curves  and  portions  of  letters  on  various  pieces  of  zinc 
before  you  attempt  any  kind  of  engraving  proper. 

You  must  be  able  to  draw,  space  and  arrange  your 
lettering  before  advancing  to  the  cutting;  thus,  if  all  be 
laid  out  properly  and  proportionately  the  difficulty  in  the 
cutting  will  become  less. 

Your  tools  play  an  important  part,  and  the  preparation 
of  them  should  be  continued  regularly.  This  accustoms 
you  to  the  handling,  which  necessarily  aids  in  the  cutting ; 
but  an  inferior  tempered  graver  which  occasionally  proves 
too  hard  or  soft  may  be  annoying  to  you  and  a hindrance, 
especially  to  a beginner.  I may  here  state,  the  best 
kind  of  graver  for  use  is  the  prepared  one.  I should 
recommend  it  because  it  is  more  convenient;  the  temper 
is  superior  to  others;  besides,  being  fitted  for  use,  gives 
you  a better  idea  of  preparation.  There  are  several 
widths  of  flat  and  line  gravers,  also  oval  and  bent  gravers, 
with  which  to  produce  the  different  styles  of  cutting 
smooth  or  wriggled  strokes,  and  with  the  sharpening  in- 
strument you  can  treat  a common  tool,  which  may  first 
be  used  to  practice  with,  to  the  correct  and  requisite  form. 

You  should  learn  to  look  upon  the  work  as  a pleasant 
pastime,  and  as  you  advance  in  practice  and  you  feel  de- 
lighted with  the  success  you  attain,  imperfections  will  be 
observable  which  by  a little  effort  can  be  overcome ; but 
don’t  flatter  yourself  that  you  have  achieved  the  desired 
object.  You  require  practice  to  keep  your  hand  in  pro- 
ficiency and  advance  your  ideas.  It  is  possible  that  you 
will  be  able  to  do  ordinary  engraving  in  a few  months 
by  knowledge  and  diligent  attention  to  practice. 

It  is  a matter  for  judicious  consideration,  especially  ta 
a beginner,  when  about  to  lay  out  an  inscription — such  as 
those  ordinarily  placed  on  coffin  plates — to  adopt  a style 


GENERAL  LETTER  ENGRAVING.  39 

of  lettering  for  the  name  proportioned  to  the  shape  and 
extent  of  the  field  of  operations  and  the  number  of  letters 
which  constitute  the  name.  The  horizontal  space  on  the 
plate  should,  of  course,  be  covered  and  occupied  within 
the  prescribed  limits  in  order  that  the  effect,  as  a whole, 
may  be  good;  yet  the  lettering  if  too  crowded  or,  per 
contra,  too  greatly  extended,  violates  the  essential  re- 
quirements of  the  art,  and  produces  an  indistinct  and 
faulty  appearance.  A great  deal  depends  on  the  size  or 
length  of  the  name  selected  or  presented  for  the  engrav- 
er’s work,  and  also  on  the  space  in  which  the  letters  com- 

3ofin  Has. 

Plate  11. 

prised  in  it  have  to  be  placed.  For  instance,  a short 
name,  such  as  5 fohn  Ray , requires  peculiar  characteriza- 
tion in  adapting  the  space  to  the  number  of  letters,  differ- 
ent from  what  would  be  suitable  for  a medium-sized  or 
long  name.  To  represent  with  harmonious  proportion 
the  above  name  we  should  employ  either  a full,  bold 
Roman  lettering  or  Old  English  extended,  either  of  which 
may,  with  careful  handling  and  conscientious  attention  to 
details,  be  wrought  into  an  inscription  exhibiting  judg- 
ment and  taste. 

Plate  12. 

Should,  however,  a long  name  be  the  subject,  such  as 
William  H.  Van  Schoonhoven , a different  form  of  letter- 
ing will  necessarily  be  demanded,  as  the  extent  of  the 
name  shows  that  it  cannot  be  conveniently  portrayed  on 
an  ordinary  space  without  using  condensed  characters. 


4° 


GENERAL  LETTER  ENGRAVTNG. 


These  lengtny  names  must  have  requisite  spacing  be- 
tween the  words  or  portions  of  the  name  and  at  either 
end  a proper  and  equal  space  must  be  preserved  from 
the  edge  of  the  plate,  so  as  to  insure  distinctness  in  ap- 
pearance and  propriety  of  execution. 

It  often  happens  that  you  are  required  to  cut  long 
names,  such  as  represented,  and  by  choosing  a style  of 
block  lettering  of  this  description,  the  cutting  can  be  per- 
formed with  rapidity  and  precision.  For  the  latter  name, 
if  the  plate  is  to  be  cut  in  a common  style,  which  can  be 
cheaply  and  quickly  executed,  I usually  cut  such  letters 
with  a flat  tool,  wriggling  the  strokes  throughout,  and 
make  a bright  cut  on  the  right-hand  side  of  each  letter 
with  the  square  graver. 

Kittie  Lee  Williamson. 

Plate  13. 

In  order  to  establish  guides  for  the  stems  of  certain 
letters,  such  as  Old  English  and  long  capitals,  running 
above  or  below  the  normal  space,  two  extra  parallel  lines 
should  be  drawn  to  insure  equal  size  to  the  lettering.  It 
requires  great  care  to  lay  out  your  work,  as  in  your  pre- 
liminary operations  much  is  possible  to  mar  or  make  the 
design  and  finish.  If  you  assume  a careless  manner  of 
sketching,  your  failure  or  negligence  leads  inevitably  to 
imperfect  cutting.  This  class  of  work  necessitates  a 
quick  motion,  combining  the  essential  requisites  of  skill 
and  exactness  both  in  conception  and  operation,  as  you 
must  be  sure  of  the  correctness  of  formation  before  you 
apply  the  tool  to  carry  out  your  design 

Perfect  sketching  of  letters  or  characters,  minute  and 
critical  attention  to  form  and  proportion,  ratio  in  size  and 
space  are  all  necessary  adjuncts  of  the  beginner’s  or  stu- 
dent’s practice.  You  must  give  to  each  letter  such  a 
squareness  or  angularity  of  form  as  will  be  in  keeping 


r 


GENERAL  LETTER  ENGRAVING. 


41 


with  the  style  and  preserve  the  harmonious  grouping  or 
arrangements  of  the  several  lines  of  wording  as  regu- 
larity demands.  If  you  do  not  improve  in  the  art,  which 
you  pursue  for  pleasure  or  profit,  for  recreation  or  remu- 
neration, you  may  be  negligent  in  trying  your  skill  or 
in  properly  training  yourself.  I would  again  impress 
on  my  readers  who  have  thus  far  followed  my  course  of 
instruction,  and  explanation  in  these  pages,  the  expediency 
of  devoting  their  leisure  hours  to  the  work  of  practice 
which  leads  to  perfection,  alternating  the  time  in  study, 
and  thereby  learn  what  others,  who  have  achieved  suc- 
cess, have  to  say  for  your  benefit.  By  adopting  these 
suggestions,  you  will  be  surprised  at  the  improvement 
which  is  certain  to  follow  real  and  earnest  effort. 


GENERAL  LETTER  ENGRAVING. 


43 


CHAPTER  IV. 

To  the  student  of  art,  whose  experience  is  as  yet 
limited,  or  whose  knowledge  of  the  principles  of  drawing 
is  more  superficial  than  sound,  it  may  seem  simple  enough 
to  engrave  the  several  styles  described  in  the  last  chapter; 
but  to  be  able  to  execute  either  name  with  ease  and  readi- 
ness, considering  the  manner  and  exactness  in  which  it 
should  be  done,  with  the  facility  and  precision  with 
which  you  can  write  a word  or  line  within  a given  com- 
pass, is  quite  another  thing. 

I must  again  caution  the  learner  that  earnest  endeavor 
can  not  be  too  constantly  applied;  otherwise,  notwith- 
standing what  profit  you  may  have  derived  from  caution 
and  instruction,  heretofore  given  in  these  articles  on  this 
subject,  you  will  be  certain  to  enter  into  the  matter  of 
cutting  your  letters  without  proper  conception  or  adequate 
training;  and,  therefore,  will  do  your  work  incorrectly. 

Such  failure  may  be  attributed  to  the  fact  that  you  do 
not,  at  the  start,  grasp  the  proper  idea  in  regard  to  for- 
mation and  the  proper  location  of  your  letters,  with  due 
consideration  to  space  and  relative  position.  You  may 
also  be  too  sanguine  of  your  ability  or  the  extent  of  your 
attainments,  when,  in  effect,  your  knowledge  is  but  rudi- 
mentary. and  you  may  become  careless  from  relying  too 
much  on  your  own  opinion  as  to  how  such  matters  should 
be  done.  This  over-confidence  is  a fault,  although  a 
moderate  amount  of  self-reliance — the  product  of  expert- 
ness and  practice — is  commendable,  and  almost  indispen- 
sable to  proficiency,  not  to  say  perfection.  When  your 
training  is  good,  your  eye  quick  and  accurate  in  its  grasp 


44 


GENERAL  LETTER  ENGRAVING. 


.fM' 


of  adaptation  of  means  to  an  end,  your  hand  steady  and 
skillful,  you  must  necessarily  have  a good  deal  of  confi- 
dence in  your  ability,  which  will  be  a help  to  you  instead 
of  a hindrance  to  success.  A skilled  engraver  will  go 
about  his  work  in  a careful  way,  but  with  a quickness  of 
motion  and  ease  of  execution  which  enables  him  to  accom- 
plish his  task  with  rapidity,  making  its  performance  rather 
a pleasure  to  him  than  a troublesome  and  tedious  task,  as 
must  necessarily  be  the  case  with  one  who  is  deficient  in 
knowledge,  skill  or  experience. 

The  learner  is  frequently  in  the  latter  undesirable 
predicament,  and  it  sometimes  appears  to  me  strange 
why  he  will  not  accustom  himself  to  the  more  judicious 
plan,  previously  indicated,  which  all  must  adopt  who 
aim  at  success  in  the  art.  He  must  first  be  sure  that  his 
lettering  is  laid  out  correctly,  and  does  not  extend  beyond 
the  limits  either  in  size  or  space,  and  does  not  offend 
good  taste  in  style  or  formation.  The  tyro  must  also 
avoid  the  faults  of  leaving  his  sketching  in  a condition 
too  obscure  to  follow,  and  be  careful  not  to  produce 
noticeable  scratches  on  a polished  surface.  He  must 
not  trace  his  parallel  lines  too  deeply,  or  leave  outline 
letters  or  finger  marks  which  greatly  mar  the  finish  on 
the  polish,  and  stamp  the  embryo  artist  as  a careless  or 
bungling  practitioner. 

There  is  another  point  to  be  considered  in  the  practical 
pursuit  of  this  business,  viz.:  the  amount  of  remuneration 
which  you  can  command  as  a reasonable  recompense  for 
your  skill,  taste,  etc.  Perhaps  you  are  not  aware  that 
everything  depends  on  this,  and  that  it  is  left  to  your  own 
judgment  about  such  matters.  Good  prices  insure  and 
necessarily  imply  good  work.  Never  imagine  that  you 
are  demanding  or  receiving  too  much ; as  the  time  and 
expense,  which  are  always  a precedent  outlay  in  learning 
the  business  will  constitute  an  inevitable  offset,  and  balance 


GENERAL  LETTER  ENGRAVING. 


45 


anything  above  the  average  which  you  may  receive, 
whether  the  work  be  done  in  the  city^  or  country.  The 
consideration  of  locality,  however,  is  an  important  one, 
and  should  be  taken  into  account. 

If  your  scene  of  operations  is  laid  in  the  latter  place, 
prices  should  be  higher  in  proportion  to  the  labor  involved 
and  the  quality  of  work  performed.  Considering  the 
number  and  style  of  coffin-plates  cut  in  a “ country  town,” 
the  cost  of  the  cheapest  grade  would  not  be  unreasonable 
at  a dollar  each.  But  in  the  city,  where  plates  are 
engraved  by  the  wholesale,  it  appears  that  fifty  and 
seventy-five  cents  are  about  the  average  price  to  be 
looked  for.  For  instance,  an  establishment  in  New  York, 
within  the  knowledge  of  the  writer,  makes  it  the  princi- 
pal branch  of  its  business  to  furnish  coffin-plates  to  the 
undertakers,  having  the  inscription  cut  upon  them  in 
fifteen  minutes  after  the  time  of  the  order.  The  regular 
form  of  lettering,  such  as  “ Died,”  the  month,  uAged,” 
and  portions  of  numerals  are  cut  in  the  engraver’s  spare 
time;  so,  when  a customer  calls  for  a class  of  plate  that 
is  regularly  sold,  he  simply  states  thQ  name  and  dates, 
and  the  plate  is  executed  in  short  order.  Now,  in  the 
case  of  the  engraver  located  in  a small  city  or  country 
town,  where  his  customer,  the  undertaker,  furnishes  the 
plate,  the  artist  exercises  his  skill  accordingly,  and  for  an 
ordinary  piece  of  work  he  seldom  consumes  more  than 
half  an  hour  in  its  performance. 

Has  it  come  under  the  notice  of  the  reader  that  in 
designing  letters  or  other  characters,  if  the  sketching  or 
“laying  out”  be  imperfectly  done,  just  so  will  the  cutting 
of  the  lettering  be  correspondingly  faulty  ? When  the 
line  or  job  is  performed,  then  it  is  observable  that  some- 
thing is  wanting;  some  carelessness,  omission  or  defect, 
radical  and  inherent,  which  calls  for  rectification  before 
comparative  perfection  is  attainable. 


46 


GENERAL  LETTER  ENGRAVING. 


It  is  manifest  to  you  then  that  something  is  not  as  exact 
as  it  should  be;  either  the  line  or  the  letters  do  not  har- 
monize with  the  other  portions.  This  is  a defect  that 
many  have  not  considered,  but  which  needs  serious  atten- 
tion. It  requires  a thorough  knowledge  of  this  and 
kindred  matters  to  keep  the  sketching  up  to  the  require- 
ments of  the  cutting.  I am  aware  that  the  pupil  is  care- 
less in  such  matters;  as  soon  as  he  gets  the  graver  in 
hand,  the  principles  of  drawing  are  ignored.  He  acquires 
his  ideas  of  formation  by  the  use  of  the  graver,  and  the 


Plate  ri. 


''Born  Feb?* 


Bied  Februar  y ddt1 Id 8 d 


manner  of  cutting  appears  to  him  in  another  light  so  that 
he  forgets  the  essential  requirements. 

In  Plate  14,  in  the  italic  lettering  for  an  ordinary  plate, 
the  word  “ February ” could  be  abbreviated  and  the  “M” 
dispensed  with;  thus:  “Feb.  14,  1824.”  and  other  months 
can  be  similarly  abbreviated. 

The  dotted  lines  act  as  guides  in  44  laying  out  ” an 
inscription.  Of  course,  other  lines  would  be  sufficient, 
but  the  ellipse  encompasses  the  whole,  showing  where  to 
begin  and  leave  off.  Besides  this,  your  eye,  trained  to 
relative  distances,  will  enable  you  to  know  better  where 


GENERAL  LETTER  ENGRAVING. 


47 


to  lay  out  and  cut  the  flourished  lines,  if,  in  your  opinion 
the  plate  requires  it.  However,  the  flourishes,  if  needed, 
should  be  cut  very  light  and  “ balance  ” each  other;  as 
heavy  lines,  running  in  different  directions,  will  tend  to 
obscure  much  of  the  lettering,  especially  if  the  style  of 
the  latter  be  fancy. 

For  those  who  have  had  but  little  experience  in  cutting 
coffin-plates,  it  would  be  best  to  first  try  their  skill  on 
many  pieces  of  metal,  endeavoring  to  imitate  the  sev- 
eral prevailing  styles  of  lettering,  and  when  a plate  is  com- 
pleted, lay  it  aside  for  comparison  and  subsequent  im- 
provement. I would  suggest  to  the  student  to  be  careful 
not  to  fill  the  plate  with  cuts  or  odd  letters,  which  can  be 
placed  just  as  well  on  some  spare  piece  of  metal.  Each 
plate  should  be  regarded  and  treated  as  if  it  were  a regu- 
lar job  left  to  be  done  according  to  order.  In  this  man- 
ner careless  habits,  which  are  easily  contracted,  will  be 
avoided. 

Having  gained  a fair  extent  of  practical  knowledge  in 
the  important  parts  of  the  work,  conceived  and  formulated 
ideas  of  planing  and  “laying  out  ” of  the  designs  to  be 
cut,  the  learner  may  frequently  compare  the  result  of  his 
efforts  with  his  preceding  crude  and  irregular  achieve- 
ments, and  note  with  satisfaction  the  difference  and  im- 
provement. The  hints  in  regard  to  the  kind  and  use  of 
tools,  heretofore  given  in  this  work,  must  be  well  ob- 
served and  faithfully  followed,  in  order  that  the  learner’s 
skill  may  be  supplemented  by  the  best  facilities.  Even  a 
person  with  a good  appreciation  of  the  art,  with  ideas  quick 
and  precise,  and  a correct  understanding  of  methods  and 
means,  will  fail  of  good  accomplishment  if  he  neglects  to 
acquire  an  easy,  graceful  habit  of  handling  his  tools, 
usually  the  unfailing  characteristic  of  the  skilled  workman. 

Some  engravers  who  assume  to  teach  the  principles  of 
the  art  assert  that  when  you  cut  a letter  or  a line,  whether 


48  GENERAL  LETTER  ENGRAVING. 

imperfect  or  otherwise  in  its  execution,  the  work  must 
stand  as  it  appears  after  one  cut  of  the  graver  to  each 
portion.  This  is  an  error;  for,  though  it  be  advisable 
and  expedient  to  grave  your  lines  and  curves  with  a steady 
and  accurate  motion  of  the  tool,  yet  none  can  do  this  but 
the  finished  expert,  and  even  he  may  deem  it  convenient 
to  retrace  his  steps  once  in  a while,  and  touch  up  points 
where  his  critical  eye  can  discern  a fault  or  imperfection. 
Those  who  have  had  but  little  experience  had  better  pay 
some  attention  to  this  matter,  and  busy  themselves  about 
all  the  little  parts  of  the  cutting  and  formation  that  help 
to  build  up  the  lettering  as  developed  in  the  process  of 
cutting.  This  will  aid  much  to  overcome  any  imperfec- 
tion that  may  exist,  not  alone  in  the  construction  but  the 
faulty  cutting,  which  may  be  the  result  of  careless  sketch- 
ing or  may  be  independent  of  it. 

I would  herein  caution  the  studious  reader  who  is 
endeavoring  to  progress  himself  in  the  art,  against  the 
prevailing  blunder  of  amateurs;  that  is,  irregularity  of 
space  between  letters  in  a word  and  words  in  a line. 
Further,  he  must  avoid  discrepancy  in  size  and  between 
letters;  and  be  careful  to  preserve  uniformity  in  spacing 
and  harmony  in  size,  style,  slope,  etc.  Practically  a line 
of  lettering  must  be  kept  on  the  same  angle  or  slope 
throughout;  whatever  decline  from  the  perpendicular,  if 
any,  you  give  your  leading  letter,  the  same  must  prevail 
to  the  end  of  the  line.  In  other  words,  a modified  paral- 
lelism must  be  observed. 

The  injurious  effects  of  vicious  or  careiess  habits,  or 
faulty  methods,  which  you  allow  to  grow  up  and  keep 
pace  with  your  advancement  in  other  respects,  and  which 
you  cannot  readily  perceive  or  become  sensible  of  till, 
perhaps,  a friendly  critic  or  a querulous  censor  point  them 
out  to  you,  must  be  guarded  against,  and  your  attention 
is  especially  called  to  the  fault  and  its  correction.  I 


GENERAL,  LETTER  ENGRAVING. 


49 


respectfully  direct  your  reference  to  page  21  where  I treat 
incidentally  about  spacing  between  the  letters.  What  I 
said  there,  with  but  little  further  definite  explanation,  will 
enable  you  to  understand  fully  the  importance  of  my  pre- 
cept; and  when  the  results  of  the  erroneous  method  and 
the  absence  or  avoidance  of  it  be  placed  in  juxtaposition, 
you  will  more  readily  perceive  the  practical  need  of  ad- 
monition. 

I prefer  to  define  my  meaning  and  facilitate  the  incul- 
cation of  my  instructions  by  means  of  an  illustration.  At 
Plate  15,  are,  represented  two  lines  of  engraving;  the  first 
showing  how  errors  of  habit  lead  to  very  faulty  execu- 
tion, easily  perceived  when  placed  in  contrast  with  the 
correct  and  more  perfect  line  beneath.  Your  eye  will 


' SuJ&Uci-/5:j886. 


Plate  15. 

teacn  you  more  aptly  than  words  the  difference  between 
the  false  and  the  true  method,  and  the  necessity  for  aim- 
ing at,  or  near,  perfection  from  the  “ laying  out  ” incep- 
tion to  the  completion.  Notice  the  irregularity  of  slant 
and  space  in  the  first  line,  and  the  uniform  slope  and  even- 
ness of  curve  in  the  lower.  These  are  only  specimen 
results  of  habit;  the  one  careless  and  inaccurate,  the  other 
in  accordance  with  taste  and  judgment,  - and  in  keeping 
with  the  recognized  principle. 

Nothing  is  better  calculated  to  teach  you  the  correct 
method  of  procedure  than  practice  with  the  manner  of 
cutting  the  body  strokes  continuously  throughout  the  line, 
making  but  one  cut  the  one  way  and  with  uniform  even- 
ness; then  turn  back  and  finish  up  the  body  strokes  from 
the  place  of  beginning,  with  the  same  evenness  of  cut. 


JO  GENERAL  LETTER  ENGRAVING. 

The  hair  lines  are  produced  by  similar  action,  but  with 
such  delicacy  in  the  cutting  as  would  make  it  appear  they 
were  light  scratches.  You  should  learn  to  make  the  cuts 
on  a bevel  for  this  increases  the  width  of  stroke  and  pro- 
duces a keener  and  easier  cut.  Besides,  hair-line  curves 
are  formed  more  readily  by  inclining  the  graver.  By  way 
of  suggestion,  the  practice  lessons  in  Chapter  II.  will  aid 
your  instruction ; but  the  method  you  require  after 
advancing,  you  will  remember,  is  to  cut  the  body  stroke 
the  proper  width,  with  one  cut,  if  possible. 

There  are  two  important  considerations  in  connection 
with  the  script,  in  giving  a bevel  to  the  stroke  which  may 
serve  you  as  a guide  in  the  future  when  making  incisions 
with  the  square  graver  to  show  the  lines  on  the  metal 
more  prominently;  such  as  in  bright  cutting  so  frequently 
applied  for  effective  borders,  or  for  small  monograms, 
especially  on  coins.  The  first  is  the  width  of  stroke  which 
is  given  to  script,  and  in  making  those  letters  the  down 
stroke  which  is  first  cut  continuously  along  the  line  is  pro- 
duced with  one  sweep  of  the  graver,  giving  to  the  stroke 
at  the  same  time  the  proper  width.  This  is  correct 
enough,  and  this  is  the  proper  way  to  produce  these 
strokes,  as  it  is  the  most  expeditious;  besides,  if  keenly 
cut,  it  shows  nice  work.  The  hair-line  strokes  are  read- 
ily made,  but  seldom  any  one  but  a skilled  workman  can 
cut  body  strokes  in  a finished  manner  throughout  the 
extent  of  a line.  Even  he  is  occasionally  obliged  to  go 
over  some  of  the  strokes  to  trim  them,  so  as  to  impart  to 
them  a similarity  of  appearance  as  to  width.  I have  been 
frequently  consulted  by  those  in  need  of  information  as  to 
whether  I cut  over  the  body  strokes  a second  time.  I 
invariably  answer : “ Certainly,  if  the  stroke  needs  it.” 

This  point  I again  wish  to  caution  the  learner  about,  be- 
cause of  the  false  teaching  already  alluded  to.  Endeavor 
to  make  the  strokes  at  first  as  near  perfect  as  you  can, 


GENERAL  LETTER  ENGRAVING. 


51 


and  then  retouch  them  if  necessary.  To  make  the  stroke 
a little  wider,  simply  insert  in  the  cut  and  incline  the 
graver  well  down  on  one  side,  very  lightly.  Do  not  cut 
your  strokes  deep,  and  thoroughly  master  this  with  the 
same  tool  before  taking  up  the  cutting  with  other  tools. 

Neither  the  square  graver  nor  the  flat  tool  requires  pol- 
ished sides  to  cut  upon  coffin  plates,  nor  for  any  practice 
work  during  your  early  experience  in  the  use  of  the 
graver,  as  a polished  tool  is  more  difficult  to  use  and  more 
likely  to  slip.  You  should  not  handle  this  kind  of  graver 
or  resort  to  its  method  of  use  till  you  are  further  advanced 
and  have  gained  knowledge  sufficient  in  the. use  of  your 
tools  to  qualify  you  for  engraving  on  jewelry,  etc. 

The  second  consideration  is  that  of  copying  from  good 
models,  and  this  cannot  be  too  faithfully  done,  in  order  to 
acquire  a correct  idea.  It  may  be  objected  that  a designer 
should  learn  to  depend  on  his  own  ideas;  but  the  reply  is, 
that  self-taught  pupils  require  the  aid  of  good  models  when 
they  have  not  the  advantage  of  a teacher  to  direct  them 
and  point  out  the  intricate  parts  of  lettering.  It  is  compar- 
atively easy  for  an  embryo  engraver  to  learn  rapidly  and 
to  acquire  correct  methods  when  his  course  is  laid  out  for 
him,  his  hand  guided  in  the  proper  treatment  of  his  work, 
and  above  all  the  practical  effect  of  the  teacher’s  own  work 
and  methods  before  his  eyes.  The  engraver  who,  on  the 
contrary,  has  to  depend  on  his  own  resources  for  acquiring 
a knowledge  and  mastery  of  his  art  needs  to  be  observant, 
and  to  avail  himself  of  every  advantage  afforded  by  speci- 
men books,  or  better  still,  models  from  good  workmen. 
He  must  learn  to  build  up  his  ideas  on  correct  principles, 
and  this  is  very  difficult  for  the  ordinary  learner  to  do 
without  help  from  correct  specimens,  well  designed  and 
executed.  Let  the  learner  copy  all  that  is  of  merit  that 
he  sees,  improve  on  it,  or  portions  of  it,  if  he  can;  or  the 
copy  may  suggest  something  better  or  finer,  which  may 


52 


GENERAL  LETTER  ENGRAVING. 


be  regarded  as  practically  original.  The  learner  can 
derive  much  benefit  from  good  specimens,  either  printed 
or  engraved,  also  from  impressions  taken  from  engrav- 
ings. By  such  means,  together  with  what  instruction  he 
receives  through  different  media,  his  ideas  of  construction 
of  the  various  styles  of  letters  will  be  materially  aided, 
and  after  a while  he  becomes  independent  of  copy.  Be- 
sides he  may  learn  in  this  way  the  different  styles  and 
sizes  of  plates  he  may  be  obliged  to  cut  upon  in  the  future 
when  he  has  “cut  his  engraving  teeth.” 

Speaking  of  this  matter,  I may  as  well  point  out  to  you 


Plate  16. 


the  difficulty  you  may  have  to  surmount  in  peculiar  classes 
of  plates.  The  miniature  specimens  shown  in  the  cut 
will  tend  to  give  you  a better  idea  of  the  taste  and  judg- 
ment needed  to  lay  out  the  lettering  on  the  several  sizes 
and  shapes  of  surfaces.  Flat  and  convex  surface  are 
different  as  to  facility  of  treatment;  also  the  relative  sizes 
may  be  taken  into  account,  to  adapt  the  style  of  lettering 
to  the  space  intended  for  it.  As  stated  in  Chapter  III, 
there  are,  of  course,  some  plates  easier  than  others  to 
work  upon,  because  of  flatness  and  size;  but  you  may 
find  yourself  in  a quandary  when  you  are  called  on  to 
place  an  inscription  on  the  cross,  or  on  the  plate  of  book- 
form,  which,  with  its  crease  or  fold  in  the  center,  repre- 


GENERAL  LETTER  ENGRAVING.  53 

senting  the  back,  is  more  difficult  of  handling  artistically. 
I would  suggest  a perfectly  plain  style  of  engraving,  in 
the  manner  shown  in  Plate  1 6.  This  peculiar  and 
unhandy  style  of  work  should,  of  course,  command  a 
peculiar  rate  of  compensation  in  the  line  of  charges. 

Thus  far  my  course  of  instruction,  theoretical  and 
practical,  that  I have  endeavored  to  lay  down  for  my 
readers  who  are  ambitious  of  art  knowledge,  has  been 
devoted  mostly  to  initiating  the  beginner  into  the  mysteries 
of  coffin-plate  engraving.  This  course  has  been  pursued 
for  the  reason  that  this  branch  is  acquired  with  greater 
ease;  because  the  lettering  is  much  larger,  corresponding 
more  nearly  to  his  lessons,  that  of  drawing  the  several 
alphabets,  which  is  necessary  previous  to  entering  upon 
cutting.  Besides,  the  plates  are  much  larger  than  most 
surfaces  which  call  for  engraving  in  other  departments  of 
the  art.  They  are  also  soft  in  material,  which  is  more 
advantageous  to  the  beginner  than  if  he  were  to  practice 
upon  harder  metal — copperplates — for  jewelry  engraving. 
Through  this  course,  such  as  experience  has  taught  me 
to  be  commendable,  the  student  is  best  prepared  for 
advancement  in  the  further  pursuit  of  the  art.  On  this 
division  of  the  subject,  however,  I have  already  written 
sufficient  to  place  the  student  on  the  right  and  practical 
course ; so  accordingly,  I will  henceforth  devote  my  atten- 
tion to  tools,  their  uses  and  methods  of  progress  in  the 
line  of  art  embraced  in  the  title  of  this  work. 


GENERAL  LETTER  ENGRAVING. 


55 


CHAPTER  V. 

I propose  now  to  direct  the  attention  of  my  readers 
more  particularly  to  the  different  tools  and  other  appli™ 
ances,  their  respective  uses  and  adaptation  to  the  different 
lines  of  work,  and  how  to  keep  them  effective  and  use 
them  to  the  best  advantage. 

If  you  have  not  reached  that  stage  of  perfection  where 
you  are  qualified  to  use  good  tools  with  good  effect;  when 
you  are  as  yet  unable  to  prepare  your  own  tools,  it  is 
natural  to  expect  that  your  progress  in  cutting — that  all 
important  branch  of  the  manual  portion  of  your  work — 
will  be  necessarily  retarded.  If,  however,  you  have 
wrought  with  sharp  gravers,  properly  prepared,  and  kept 
so  for  you  by  experienced  hands,  you  will  realize  when 
left  to  your  own  resources  that  the  ability  to  keep  your 
tools  in  proper  condition  is  a great  advantage,  and  one 
which  you  at  once  recognize  as  indispensable  to  success 
in  the  practical  prosecution  of  the  art.  You  will  realize 
when  left  to  take  care  of  your  tools,  that  neglect  in  learn- 
ing to  keep  them  in  proper  condition  will  have  a discour- 
aging effect  on  your  efforts  and  interfere  with  your 
advancement.  It  will  be  seen,  therefore,  that  instruction 
in  this  department  is  essential  to  all  who  aspire  to  become 
adept  engravers. 

Sharpening  gravers  to  a nicety  requires  more  than 
ordinary  efforts.  With  the  engraver  this  is  unques- 
tionably an  important  point  which  must  never  be  lost  sight 
of,  and  one  upon  which  much,  if  not  the  material  part  of 
his  ability  in  rapidity  and  precision  of  execution  depends. 
To  attain  proficiency  in  this  line,  however,  is  not  very 


56 


GENERAL  LETTER  ENGRAVING 


simple  and  easy,  although  desirable  and  necessary.  A 
knowledge  of  the  proportionate  angles  must  be  first 
acquired  to  skillfully  set  up  a graver  to  the  proper  cutting 
order;  yet  the  student  does  not  comprehend  this  until  he 
is  fairly  under  way  with  his  cutting.  This  is  not  alone 
the  case  with  the  student  of  a few  months,  who  is  yet  but 
in  the  mere  rudimentary  stages  of  his  education,  but  like- 
wise applies  more  directly  to  the  comparatively  proficient 
engraver  who  has  carelessly  over-looked  matters  which 
at  first  seemed  trivial  and  of  little  consequence  until 
painful  experience  taught  him  his  error.  He  imagined 
that  too  much  attention  to  what  he  deemed  minor 
matters  at  first  was  irksome  and  the  study  of  details 
excessive,  beyond  the  prospective  reward  to  be  derived 
from  an  expert  and  intelligent  pursuit  of  the  business, 
based  on  skill  and  adequate  training.  The  engraver 
who  allows  himself  to  gain  a superficial  knowledge 
of  his  art  without  those  fundamental  principles  by  which 
alone  good  cutting  can  be  accomplished,  will  sooner  or 
later  see  his  neglect  reflected  in  the  imperfection  of  his 
work. 

Graver  incisions  are,  therefore,  produced  expertly  with 
none  other  than  keen  angles,  and  the  quality  and  temper 
of  the  tool  have  very  much  to  do  with  the  durability  of 
the  point  and  edges.  The  square  graver  and  others  of  a 
pointed  shape,  so  to  speak,  are  used  for  cutting  somewhat 
similar  lines  and  require  appropriate  treatment  differing 
from  those  of  other  shapes,  needed  for  distinct  kinds  of 
work.  I refer  more  particularly  in  this  and  perhaps  suc- 
ceeding chapters  to  the  gravers  mentioned,  and  in  order 
to  express  my  views  more  impressively,  I direct  attention 
to  the  accompanying  illustrations,  in  which  you  can  per- 
ceive, or  form  an  approximately  correct  idea  of,  the  sizes, 
shapes  and  angles  required  to  produce  uniform  cutting 
upon  the  different  surfaces. 


GENERAL  LETTER  ENGRAVING. 


57 


In  Plate  17,  figs.  1 and  2 represent  the  same  graver. 
One  is  for  finer  cutting;  the  larger  is  more  adapted  to  the 
performance  of  ordinary  work.  Fig.  3 shows  the  angle 
of  the  face,  with  the  parallel  line,  which  is  given  to  the 
point  of  graver;  while  figs.  4,  5,  6 and  7 represent  the 
gradual  ascent  by  which  a graver  is  to  be  sharpened  on 
the  under  sides  for  the  different  kinds  of  work,  such  as 
hollow  ware,  etc.,  where  it  is  most  difficult  of  access. 
The  dotted  line  AA  represents  the  plane  to  which  the 
sides  are  whetted.  You  will  understand,  the  more  the 
graver  is  stoned  towards  the  face  or  top  part  of  it,  the 
smaller  it  will  become,  and  the  graver  stem  more 
elevated. 

By  the  use  of  the  bent  gravers,  fig.  8 and  9,  a great 
deal  of  the  pitched  under  sides  and  degree  of  elevation 
given  to  the  gravers’  stem  is  obviated.  Instead  of  the 
sides  being  whetted  away  to  a great  extent,  they  are 
smoothed  sufficiently  to  insure  a keenness  to  the  point’s 
cutting  angles.  These  bent  gravers  are  becoming  very 
popular  in  use.  A feature  about  them  is  the  little  whet- 
ting required,  owing  to  the  bent  stem,  which  allows 
more  play  for  the  fingers  clasping  the  handle,  which 
greatly  facilitates  ease  in  the  cutting,  much  more  so  than 
in  using  a straight  graver,  whetted  at  such  an  angle  as 
at  fig.  4. 

I have  heard  engravers  say  they  could  not  use  such  a 
tool,  being  too  narrow  or  too  short.  The  handle  is  large. 
Of  course  there  are  considerations  an  engraver  must  look 
carefully  to.  For  some  purposes,  gravers  are  required 
to  be  a trifle  longer  than  for  others.  Then  a beginner 
might  select  a chisel-sized  graver,  with  a handle  like  that 
of  a chestnut;  besides,  the  engraver  will  accustom  him- 
self to  a peculiar,  clumsy  style  of  graver,  yet  it  suits  him 
better  than  any  other  size  or  peculiar  formed  tool.  The 
latter  may  be  well  enough,  but  one  should  become 


58 


GENERAL  LETTER  ENGRAVING. 


accustomed  to  the  use  of  almost  any  kind  and  reasonable 
sized  graver,  for  which  the  different  classes  of  work 
necessitate,  and  which  require  it  to  be  used  at  such  eleva- 
tions. If  you  have  or  can  afford  to  obtain  a great 
number  of  tools  for  as  many  different  purposes  as  may 
be  required,  such  as  sets  for  the  soft,  medium  and  hard 
metals,  you  will  have  always  at  hand  ready  tools  and  your 
work  is  not  so  liable  to  be  delayed  by  reproducing  a sharp 
edge,  if  you  happen  to  break  a point;  besides,  your  pro- 
gress is  not  retarded  as  in  the  case  with  one  who  uses  but 
few  tools  and  the  same  upon  all  classes  of  work.  Figs, 
io,  ii,  12  and  13,  show  the  several  sizes  of  square  grav- 
ers in  transverse  section.  Either  10  or  11  would  be 
good  sizes  for  inscription  cutting  upon  a watch  cap  or 
jewelry;  12  would  answer  for  coffin  plates.  Nos.  12  or 
13  could  be  used  as  well  for  engraving  upon  tougher  or 
harder  metals,  as  brass  door  and  machine  plates.  How- 
ever, the  difference  between  the  two  metals,  britannia 
and  brass,  should  necessarily  insure  a better  temper  to 
the  tool  used  upon  the  brass,  as  the  points  are  more  apt 
to  break  than  if  they  were  applied  upon  the  softer  metal. 

A good  tempered  graver,  about  the  size  of  fig.  11,  could 
be  used  for  general  work,  either  for  silver  coin  and 
silverware,  or  plated  spoons,  forks,  umbrellas  and  satchel  - 
plates,  dog  collars,  etc.  Such  gravers  as  lozenge-shaped, 
figs.  14  and  15,  are  used  for  fine  and  deeper  lettering, 
etc.  Any  engraver  should  be  able  to  cut  with  any  of 
these  sized  gravers,  but  it  is  far  better  to  reserve  a cer- 
tain sized  tool,  as  your  choice  may  approve,  for  the  par- 
ticular material  upon  which  you  wish  to  engrave. 

If  the  engraver  will  observe  these  essentials,  less  diffi- 
cult will  be  the  task  of  cutting.  The  main  points  for 
those  who  aim  to  become  skilled  in  the  art  is  to  study  the 
principles,  and  to  think  before  acting.  One  moment’s 
thought  upon  what  is  best  to  do  first  to  arrive  at  the 


Plate  77. 


GENERAL  LETTER  ENGRAVING. 


59 


6o 


GENERAL  LETTER  ENGRAVING. 

desired  consummation,  will  amply  reward  the  studious 
learner,  and  produce  more  real  benefit  than  much  ill-con- 
considered  and  negligent  effort. 

Before  passing  on  from  one  portion  of  our  subject  to 
the  succeeding  one,  it  would  be  well  for  those  who  have 
thus  far  followed  my  course  of  instruction  to  thoroughly 
master  the  sense  and  meaning,  the  intent  and  purpose,  the 
theory  and  practice,  of  each  individual  portion  and  thus 
derive  what  advantage  is  inherent  in  plain,  practical  edu- 
cation and  illustration,  and  try  to  profit  by  the  experience 
of  a veteran  in  the  art.  A superficial  study  of  these 
lessons  will  be  of  little  permanent  value. 

You  have  probably  studied  the  peculiar  shapes  given 
to  gravers,  or  you  may  have  simply  looked  them  over 
and  formed  your  own  opinion  about  the  requisite  size  of 
the  angles,  etc.,  but  your  judgment  (or  intuition)  will 
probably  prove  defective  in  the  manner  of  grading  the 
tools  if  necessity  obliges  you  to  produce  a new  point  or 
an  accurate  angle  at  short  notice  and  strictly  available  for 
your  purpose.  When  this  matter  first  engages  your  at- 
tention is  the  proper  time  to  test  the  reliability  of  your 
opinions  and  to  regulate  your  ideas  on  this  very  practical 
point.  In  this  manner,  by  convincing  yourself  wherein 
you  are  right,  by  confirming  and  establishing  your  cor- 
rect impressions,  and  weeding  out  your  errors — due  to 
want  of  experience  or  to  hasty  opinions  formed  without 
that  knowledge  which  is  a concomitant  of,  and  equivalent 
to,  power — you  will  be  able  to  prepare  your  graver  with 
ease  in  short  order,  so  as  not  to  retard  your  progress  in 
the  work  of  engraving.  Few  beginners  stop  to  consider 
the  important  angles  given  to  gravers  to  produce  the  dif- 
ferent cutting;  nor  until  they  have  progressed  too  far  in 
an  opposite  direction  do  they  realize  the  trouble  of  being 
obliged  to  commence  over  again  to  ensure  perfect  work. 
I should  here  suggest : no  matter  what  you  attempt,  be  it 


GENERAL,  LETTER  ENGRAVING. 


6l 


ever  so  simple,  perfect  yourself  in  the  matter  before  ad- 
vancing to  a higher  grade.  Although  engraving  is  done 
so  readily  and  quickly,  perfect  work  cannot  be  executed 
without  entering  into  cutting  every  peculiar  curve,  etc., 
of  which  experience  alone  gives  you  mastery. 

In  regard  to  the  tools,  it  is  necessary  that  you  should 
know  the  principal  features  about  them  and  to  use  those 
that  are  best  adapted  to  cut  the  different  lines,  curves, 
etc.,  and  which  will  facilitate  the  formation  of  lettering 
in  the  shortest  and  easiest  possible  manner.  Much 
depends  upon  the  kind  of  tools  used  in  order  to  expertly 
execute  the  work;  if  you  have  but  few  to  perform  a par- 
ticular piece  of  engraving  in  an  awkward  place  and  prob- 
ably, in  addition,  the  graver  being  a little  out  of  shape,  it 
delays  the  work  and  renders  if  difficult  and  unpleasant. 

More  or  less  experience  in  the  choice  of  tools  will 
teach  you  that  intelligent  and  earnest  consideration  should 
be  given  to  the  selection  and  preparation  of  gravers,  that 
you  may  enter  upon  your  work  with  the  tool  you  feel 
confident  will  do  engraving  in  the  best  and  easiest 
manner.  For  this  reason  I introduce  the  square  graver, 
showing  the  difference  of  the  angles  at  which  it  is  pre- 
pared for  different  surfaces  of  metal,  expressly  to  enable 
you  to  do  the  work  more  readily. 

The  square  graver  in  Plate  18,  as  you  will  observe,  is 
bent  purposely  to  facilitate  the  cutting  of  rings.  All 
expert  engravers  that  I know  of,  have  heretofore  used  an 
ordinary  straight  graver  for  cutting  rings,  and  no  doubt 
will  continue  to  do  so,  as  they  can  readily  work  with  such 
a graver,  which  they  have  become  well  used  to.  How- 
ever, I would  say  this  particular  graver  shown  in  cut, 
gives  an  advantage  in  getting  at  curves  easier,  for  the 
reason  that  its  circular  stem  is  not  apt  to  strike  the  side 
of  the  ring,  as  is  the  case  with  the  straight  one.  En- 
gravers usually  hold  the  ring  in  their  fingers,  the  ring 


V 


GENERAL,  LETTER  ENGRAVING. 


^3 


resting  upon  a very  hard  pad  about  three  inches  in  size 
— the  harder  the  pad  the  better,  as  a ring  can  be  turned 
thereon  during  the  process  of  engraving  more  advan- 
tageously. A ring-holder  would  be  of  service  to  a begin- 
ner, but  expert  gravers  seldom  use  it,  as  they  have  be- 
come accustomed  to  hold  the  ring  by  the  fingers.  The 
adjustment  of  a ring  holder  takes  time,  and  they  prefer 
their  own  way  about  the  matter. 

Engraving  on  the  inside  of  a ring  can  be  quickly 
done  by  a system  heretofore  explained;  cutting  the  body 
strokes  of  letters  all  one  way  first;  finishing  them  back 
before  cutting  the  hair-lines;  the  lettering  should  be  of 
medium  size  and  in  the  center  of  the  ring;  all  the  letter- 
ing should  be  properly  laid  out  with  a wood-marker  or 
ivory  point  before  the  cutting  is  commenced;  if  the  traced 
lines  are  likely  to  be  rubbed  out,  then  a steel  point  is 
necessary  to  trace  the  letters  in.  A compass  with  a box- 
wood point  would  be  the  first  necessary  tool  to  trace  the 
parallel  lines  after  you  have  covered  the  inside  of  the  ring 
with  wax  preparation. 

The  best  way  for  beginners  is  to  supply  themselves 
with  common  rings  for  practice,  and  similar  in  kind  to 
plain  rings,  as  stone  rings  are  more  difficult  to  handle. 

You  will  see  by  the  foregoing  that  the  shape  of  the 
graver  and  the  angle  of  its  edge  are  by  no  means  unim- 
portant considerations,  but  matters  that  primarily  demand 
attention  and  much  practice,  before  the  hand  and  eye  of 
the  workman  become  trained  and  skillful.  Do  not  be- 
come discouraged  by  seeming  difficulties  in  handling  your 
tools,  but  keep  on  thinking  and  working  and  you  will 
make  progress  and  succeed. 

The  beginner  naturally  dislikes  to  mark  finger  rings 
for  cutting,  as  it  taxes  his  patience  to  a great  extent,  the 
work  being  out  of  the  ordinary  range  of  facility  in  hand- 
ling, and  difficult  of  execution  even  when  he  succeeds  in 


6\  GENERAL  LETTER  ENGRAVING. 

its  preparatory  sketching.  To  properly  set  about  the 
matter  he  should  first  consider  the  amount  of  letters  to  be 
put  in  a given  space,  and  then  inscribe  them  in  an  appro- 
priate manner,  so  as  to  make  them  appear  to  the  best 
advantage.  The  size  and  angle  of  a letter  has  a great 
deal  to  do  with  this.  To  be  in  accordance  with  good 
taste  must  naturally  be  the  governing  principle  of  such 
an  inscription,  and  of  course  much  depends  on  the  size  and 
narrowness  of  the  lettering,  which  in  such  cases  must  be 
very  small. 

It  is  a safe  rule  to  be  guided  by  in  such  work  to  make 
all  your  lettering  of  about  a uniform  height.  Do  not 
imagine  that  because  one  ring  has  a greater  width  of 
band  than  another  that  you  must  make  the  lettering 
"hereon  correspondingly  large.  The  idea  *s  erroneous 
and  should  be  discarded,  because  if  persisted  in,  it  mat- 
ters little  how  nice  the  letters  are  cut,  they  appear  too 
large,  and  usually  look  out  of  place. 

The  shanks  of  finger  rings  are  made  in  many  different 
forms,  and  the  work  should  be  almost  as  easy  of  execu- 
tion on  one  ring  as  another  but  to  this  general  rule  there 
are  a few  exceptions.  Plate  19  shows  a few  varieties  of 
rings  and  the  arrangement  of  lettering  for  such  spaces,  as 
will  appear  to  best  advantage  and  cut  in  the  easiest 
and  most  appropriate  style. 

The  styles  of  rings  marked  figs.  1 and  2 have  even 
bands,  and  will  present  about  the  same  degree  of 
difficulty  to  engrave,  but  those  marked  figs.  3 and  5 
are,  by  the  nature  of  their  construction,  less  easy  to 
operate  upon,  by  reason  of  the  shank  and  stone.  Be- 
sides, the  open  space  where  the  stone  is  set,  and  also 
owing  to  the  tapering  thinness  of  band  in  the  case  of 
fig.  3,  precludes  the  practicability  of  putting  in  of  but 
few  letters  to  keep  in  harmony  with  taste,  except  at  the 
shank. 


GENERAL  LETTER  ENGRAVING. 


65 


The  large  seal  ring,  tig.  5,  should  be  engraved  in  the 
manner  delineated,  for  practical  reasons;  first,  because 
you  are  able  to  cut  better  on  the  large  interior  gold  sur- 
face than  you  can  do  otherwise,  as  the  size  of  the  stone 
hinders  you  from  seeing  the  lettering  if  done  inside  on  the 
band.  In  the  second  place,  the  extent  of  surface  at  the 
back  of  the  stone  in  this  style  of  ring  presents  a space 
for  a very  handsome  inscription,  which,  if  nicely  executed 
and  conformed  accurately  to  the  extent  of  surface,  will 


appear  tasteful,  and  owing  to  its  position,  is  capable  of 
being  displayed  to  advantage. 

Figs.  4 and  6 exhibit  styles  and  letters  which  are  usu- 
ally placed  on  such  rings.  In  the  case  of  fig.  4,  it  is  not 
in  correct  form  to  crowd  three  letters  on  the  outside 
heart,  though  it  is  sometimes  done.  It  is  better  to  dis- 
tribute the  letters  as  shown  in  the  cut,  as  then  art  and  sen- 
timent both  combine  in  harmony.  In  the  case  of  two  let- 
ters, it  is  better  to  place  one  on  each  heart,  and  where 
only  one  letter  is  used  it  can  be  placed  near  the  center  or 
contact  of  the  two  hearts, 
s 


66 


GENERAL  LETTER  ENGRAVING. 


For  all  lettering  on  the  inside  of  rings  I use  a straight 
stem  graver,  with  the  under  side  at  the  point  slightly 
pitched,  stoned  at  even  angles.  Owing  to  long  experi- 
ence and  almost  constant  practice  I am  perfectly  able  to 
cut  on  the  inside  of  rings  with  such  a tool  without  the 
slightest  hindrance,  but  some  engravers  prefer  a bent 
graver,  as  represented  in  plate  18,  on  account  of  the 
curved  stem,  which  enables  them  to  cut  the  hair  lines  bet- 
ter. Much  depends,  however,  on  the  kind  of  tool  you 
become  accustomed  to,  and  your  method  of  handling  the 
same.  In  the  hands  of  a practical  man  either  of  the 
gravers  I have  indicated,  the  bent  or  straight  stem,  is 
well  calculated  to  produce  as  good  work  in  as  feasible  a 
manner  as  can  be  ordinarily  produced  by  the  progressive 
and  experienced  artist.  Individuals  have  peculiar  hob- 
bies, but  however  warmly  they  may  advocate  their  adop- 
tion, it  would  not  be  wise  to  recommend  anything  that  we 
know  is  contrary  to  the  methods  which  have  long  been 
found  to  be  successful,  and  which  not  only  contravenes 
the  rules  of  experience — the  certain  criterion  of  success — 
but  which  are  at  variance  with  the  principle  that  the  en- 
graver must  aim  at  performing  the  best  work  in  the  sim- 
plest manner,  and  with  the  tools  best  adapted  to  the  par- 
ticular class  of  work  on  which  he  is  engaged. 

The  old  saying  that  “ a bad  workman  quarrels  with 
his  tools,”  holds  true  in  the  art  of  engraving,  as  it  does  in 
most  of  the  mechanical  and  liberal  arts.  The  reason 
seems  to  be  that  an  imperfect  or  inexperienced  operator, 
at  any  trade  or  calling,  usually  handles  his  instruments  or 
“ tools  of  trade  ” awkwardly,  and  necessarily  fails  in  pro- 
ducing finished  or  elegant  work.  The  primary  cause  of 
the  trouble  is  that  unskilled  artists  or  workmen  are  slow 
to  acquire  the  knack  or  accomplishment  of  keeping  their 
tools  in  effective  condition,  consequently  their  efforts  in 
their  line  of  business  is  attended  with  bad  results.  Thus 


GENERAL  LETTER  ENGRAVING.  67 

N. 

cause  and  effect  combine  to  defeat  progress,  except  in 
the  case  of  the  practitioner  who  diligently  tries  first  to 
master  the  secret — if  it  may  he  termed  a secret,  which 
practice  and  study  will  reveal  and  develop — of  manipula- 
ting his  tools  in  the  most  practical  manner,  and  then  learns 
to  maintain  them  in  the  best  possible  state  of  effectiveness. 
This  skill  in  the  use  of  engraving  tools  is  indispensable  to 
the  learner  as  well  as  to  the  professional. 

In  the  use  of  engraving  tools  to-day,  as  well  as  in  most 
other  avocations,  a great  stride  has  been  made  in  the  line 
of  improvement.  What  the  old-time  artist  used  in  pro- 
ducing his  best  effects,  would  now  be  regarded  as  clumsy 
or  obsolete.  The  great  desideratum  is  to  possess  the  best 
means  of  executing  work  in  the  easiest  and  most  complete 
manner.  To  this  end  the  inventive  faculties  of  many 
original  minds  have  been  brought  into  active  play,  and 
very  valuable  results  have  been  accomplished. 

It  has  been  my  aim  to  invariably  direct  those  whom  it 
has  been  my  pleasure  and  privilege  to  instruct  in  engrav- 
ing, to  the  choice  of  the  most  practical — not  necessarily 
the  most  complicated — accessories  with  which  to  learn  the 
art  in  the  shortest  time,  and  with  the  least  amount  of 
trouble  or  disappointment.  During  my  career  I have  be- 
come perfectly  acquainted  with  the  relative  merits  or 
demerits  of  nearly  every  tool  and  appliance  brought  out 
by  the  leading  manufacturers  of  the  country,  and  am  con- 
sequently in  a position  to  advise  and  direct  pupils  aright 
in  selecting  tools  to  work  with ; an  advantage  which  I 
invariably  exercise  for  the  benefit  of  those  who  follow  my 
instruction,  without  favor  to,  or  discrimination  against  any 
maker.  The  experience  which  I have  gained  is  not  con- 
fined to  myself  alone,  but  is  cheerfully  imparted  to  those 
who  follow  my  directions ; in  a like  manner  that  a college 
professor  leads  his  class  to  the  choice  of  the  best  text-books 
and  adopts  the  best  modern  methods  of  instruction. 


68 


GENERAL  LETTER  ENGRAVING. 


Most  engravers  have  felt  at  the  very  outset  of  their 
career,  the  need  of  some  appliance  by  which  the  object 
on  which  they  work  will  be  firmly  held,  or  upon  which 
plates  or  other  flat  surfaces  can  rest,  so  as  to  be  easily 
handled  and  operated  upon.  The  pad  is  the  most  obvious 
appliance  for  the  generality  of  beginners,  and  is  quite 
extensively  used  by  the  more  advanced  operators.  Bu 


Plate  20. 


it  will  be  readily  seen  that  a pad  is,  after  all,  a very  un- 
satisfactory arrangement  in  some  parts  of  the  work  where 
both  hands  need  to  be  kept  free  and  busy,  and  where  the 
trouble  of  keeping  one  hand  on  the  work  while  the  other 
operates  the  graver  is  to  be  avoided.  Practical  men  recog- 
nize the  utility  of  some  appliance  by  which  the  work— a 
coin,  a ring,  a spoon,  bangle,  or  other  small  article — can 
be  firmly  kept  in  position,  while  it  can  be  at  the  same 


GENERAL  LETTER  ENGRAVING.  69 

time  easily  turned  to  help  the  process  of  the  graver,  and 
relieve  the  wrist  from  unnecessary  curves  and  tiresome 
movements.  In  this  way  the  “ block”  or  “stand”  came 
to  be  invented.  The  stand,  which  is  made  in  sections,  is 
so  adjusted  that  the  upper  part  revolves  upon  a pivot  or 
axis,  while  the  base,  which  is  made  somewhat  heavy  and 
solid,  keeps  the  whole  steady  on  the  table.  The  upper 
part  is  fixed  with  various  devices  wherein  the  work  is 
held,  and  thus  the  engraver’s  task  is  facilitated  and  his 
labor  materially  lessened. 

But  here  the  inventor  has  again  been  at  work,  and 
has  produced  an  admirable  improvement  which  I shall 
endeavor  to  briefly  delineate  for  the  benefit  of  my 
readers.  It  is  the  ne  plus  ultra  of  engraving  stands,  and 
effects  an  incredible  saving  in  work,  besides  allowing  it 
to  be  done  more  skillfully  than  by  the  aid  of  any  pre- 
ceding device. 

In  proportions  it  stands  about  eight  inches  in  height, 
and  is  divided  into  two  principal  parts — the  base  and  the 
stem  or  body.  The  base  is  very  solid,  and  of  the  usual 
trumpet-like  shape,  to  insure  steadiness  under  all  opera- 
tions. The  whole  is  of  very  graceful  outline,  nickel-plated 
and  polished.  The  base  and  stem  are  both  pierced  with 
a hole,  through  which  passes  a cylindrical  rod  or  axle, 
which  is  tapered  off  to  a pivot  on  top,  and  on  which  the 
body  of  the  instrument  turns  freely,  on  a perfect  center. 
The  base  is  furnished  with  a screw,  at  the  end  of  which 
is  a lever  or  handle,  by  means  of  which  the  axle  is 
adjusted,  so  as  to  keep  the  body  at  the  desired  elevation 
and  admit  of  easy  and  absolutely  correct  revolution.  The 
body  turns  upon  the  axle  pivot,  but  so  perfectly  fitting  is 
the  axle  in  the  perforation  of  the  body  that  if  the  stem  be 
removed  and  again  replaced  on  the  axle,  the  air  will  be 
confined  so  as  to  prevent  the  stem  from  descending  on 
the  pivot  for  several  minutes. 


70  GENERAL  LETTER  ENGRAVING. 

A glance  at  Plate  20  will  give  a general  but  very- 
imperfect  idea  of  this  invaluable  adjunct  to  the  engraver’s 
table.  Fig.  1 represents  the  instrument  in  its  usual  work- 
ing condition,  with  the  axle  held  in  position  by  the  base 
screw.  Fig.  3 shows  the  top  part  of  the  stem,  whereon  a 
portion  of  a spoon  is  held  fast  for  working.  Fig.  2 shows 
a small  case  or  stand  for  holdings  pins  or  pegs  used  in 
working  with  the  instrument.  It  is  fitted  with  twenty 
receptacles  for  holding  as  many  pegs.  Some  of  the  latter 
are  straight,  round  pins,  while  a few  have  triangular  flat 
heads,  thereby  providing  grooves  for  keeping  watch- 
cases  or  other  small  articles  firmly  in  position. 

The  top  of  the  stand  is  two-fold,  and  suited  to  receive 
any  kind  of  work.  There  is  first  a fiat  steel  plate,  divided 
into  two  equal  parts,  each  part  being  connected  with  a 
screw  which  is  adjusted  by  a key  from  the  side,  and 
opened  or  closed  to  suit  the  engraver’s  convenience.  In 
these  divided  plates  are  numerous  holes  to  receive  the 
pegs  aforesaid,  and  by  means  of  these,  and  by  adjusting 
with  the  screw,  rings,  coins  or  other  things  are  held  and 
easily  turned  by  the  hand  while  the  graver  does  the  work. 

Above  this  plate  can  be  placed  a flat  disc,  about  equal 
in  circumferente  to  the  upper  portion  of  the  stem.  This 
disc  is  fixed  to  the  top  of  the  stem,  when  required,  by 
means  of  two  large  vertical  screws,  furnished  with  wide 
flat  heaps,  which  latter  feature  are  for  holding  spoons  or 
larger  articles  while  being  engraved. 

The  entire  arrangement  is,  notwithstanding  its  com- 
plicated appearance,  very  simple,  easily  adjusted  and 
understood,  and  not  liable  to  get  out  of  order.  It  is  a 
wonderful  help  to  an  engraver,  and  in  saving  of  time  and 
aid  to  better  work,  soon  pays  for  the  outlay  of  its  pur- 
chase Other  stands  have  preceded  it,  and  there  is  an 
excellent  one  somewhat  similar  in  general  appearance. 


GENERAL  LETTER  ENGRAVING. 


71 


CHAPTER  VI. 

I have  necessarily  treated  of  the  formation  of  the 
different  styles  of  lettering  with  which  the  student  of 
engraving  must  make  himself  familiar.  A practical 
knowledge  of  how  to  cut  letters  with  ease,  quickness  and 
precision  being  indispensable  to  the  engraver,  whether  he 
is  a beginner  or  an  expert,  I very  naturally  devoted  a 
large  share  of  attention  to  this  subject;  and  as  the  lessons 
are  intended  to  be  progressive,  they  begin  with  the  rudi- 
ments of  the  art,  so  to  speak,  and  proceed  to  the  more 
elaborate  and  complicated.  I have  not  tried  to  transcend 
the  limits  of  plain  and  practical  advice  and  instruction, 
and  have  endeavored  from  the  start  to  present  my  subject 
in  as  popular  a style  as  the  matter  would  admit,  adapting 
the  various  stages  of  the  work  to  the  comprehension  of 
every  learner  who  was  in  earnest  in  the  effort  to  attain  a 
a knowledge  of  engraving  or  to  add  to  what  he  had 
already  acquired. 

I have  laid  down  certain  rules  and  suggestions  for  the 
laying  out  or  sketching  and  arrangement  of  various  classes 
of  letters,  as  regards  size,  proportion  and  adaptability  to 
space,  and  also  the  manner  of  cutting  them  to  the  best 
advantage  and  so  as  to  produce  the  best  effect.  This  was 
done  to  train  the  learner  to  acquire  this  very  essential 
branch  of  the  engraving  art  before  attempting  anything 
more  ambitious.  The  practical  engraver  must  thoroughly 
familiarize  himself  with  the  ordinary  run  of  letters,  such 
as  will  be  required  in  his  every-day  experience,  before  he 
takes  up  a more  delicate  and  artistic  style,  which  he  may 
not  be  obliged  so  frequently  to  exercise,  or  which  he  may 


72 


GENERAL  LETTER  ENGRAVING. 


lack  the  time  or  skill  to  become  proficient  in.  The 
engraver  who  has  a taste  for  his  work  and  who  pursues 
his  art  for  the  profit  as  well  as  the  pleasure  of  it,  finds 
that  the  bulk  of  his  work  must  be  done  according  to  the 
methods  I have  explained ; that  the  ability  to  sketch  neatly 
and  execute  his  cutting  with  a quick,  clean,  steady  stroke, 
are  the  chief  accomplishments  which  are  most  reliable, 
and  which  pay  the  best  in  ordinary  business.  ,It  will  be 
certainly  no  detriment  for  him  to  be  able  to  accomplish 
the  finer  grades  of  work,  on  the  contrary  a great  acquisi- 
tion. Most  people  are  unwilling  to  go  to  the  expense  of 
elaborate  designs,  and  choose  the  least  expensive. 

The  professional  engraver  who  has  to  please  various 
tastes  and  execute  all  kinds  of  work  which  his  customers 
require,  from  the  coarse  to  the  finer  grades,  must  apply 
his  skill  and  endeavor  to  expertly  accomplish  his  task  in 
a satisfactory  manner  both  to  himself  and  customer,  and 
this  will  of  course,  keep  him  in  steady  practice  in  the  line 
of  ordinary  letter  engraving,  which  I have  purposely 
devoted  so  much  space  and  time  to,  to  make  easy  and 
practical  to  the  learner. 

Having  treated  at  much  length  on  this  portion  of  my 
subject  and  given  adequate  attention  to  essentials  in 
sketching  and  cutting  plain  letters,  with  occasional  direc- 
tions as  to  the  choice  and  use  of  tools  and  other  adjuncts 
of  the  art,  I will  now  touch  upon  a higher  grade  of 
lettering,  and  give  a few  plain  hints  and  directions  as  to 
the  manner  of  its  execution.  My  present  instruction  is 
intended  chiefly  for  the  benefit  of  those  who  are  fully  com- 
petent to  cut  ordinary  lettering,  which  I feel  confident  they 
are  able  to  do  if  they  have  followed  my  previous  instruc- 
tions and  adopted  my  advice  as  to  study  and  practice. 

Combination  of  lettering  requires  more  than  ordinary 
taste  in  having  it  drawn  and  engraved  in  a flowing, 
delicate  arrangement.  Skill  is  needful,  combined  with 


GENERAL  LETTER  ENGRAVING. 


73 


judgment  and  perfected  by  constant  practice;  and  these 
are  necessary  to  the  engraver,  whatever  may  be  his 
ability  and  however  perfect  his  education.  No  amount 
of  theoretic  training  or  judiciously  imparted  instruction 
can  compensate  or  be  a substitute  for  constant  and  careful 
practice  with  a desire  and  an  aim  to  improve.  Let  this 
point  never  be  lost  sight  of. 

Blending  several  script  capital  letters  together — for 
such  is  the  style  used  more  fully,  to  a certain  extent,  than 


Plate  21. 


any  other  for  medium  work — must  be  done  not  only  dis- 
tinctly but  the  several  limbs  of  the  letter  should  harmonize 
on  all  sides.  This  is  what  adds  to  the  beauty  of  the  cipher, 
and  for  which  the  designer  has  to  depend  upon  his  own 
taste  and  judgment  to  entwine  them,  as  to  copy  altogether 
from  books  for  examples  would  soon  give  a tendency  of 
sameness  of  style.  Ideas  of  any  design  should  be 
sketched  first  in  mere  outline  upon  a piece  of  paper,  before 
you  design  it  properly  on  metal.  Then,  to  give  you 
better  style,  other  specimens  are  referred  to.  Thus  books 


74 


GKNERAL  LETTER  ENGRAVING. 


are  intended  to  aid  you,  but  to  depend  upon  any  book  of 
letters  is  not  quite  reliable,  as  such  styles,  more  espec- 
ially monograms  that  in  print,  are  too  stiff  and  do  not 
represent  all  the  requisites  of  one  that  is  shown  in  all  its 
flowing  form  and  embellishment.  Therefore  engraved 
specimens  are  far  superior  to  acquire  ideas  from  than 
printed  ones. 

A cipher  can  be  made,  when  ornamentation  is  added 
to  the  letters,  limbs  and  body  stroke,  to  appear  almost 
equal  to  a monogram;  and  some  tastes  much  prefer  them 
to  the  latter.  The  regular  cipher  for  ordinary  spoon 
work  needs  careful  study  and  expertness  to  develop 
elaborate  formation. 

The  foregoing  selections  of  letters  have  been  taken 
from  “The  American  Text  Book  of  Letters”  but  modified 
somewhat  to  meet  the  requirements  of  the  present  instruc- 
tion. 

In  the  first  example,  Plate  21,  tig.  1,  the  cipher  “ H T” 
is  outlined,  after  which  the  body  strokes  are  formed 
in  the  manner  at  fig.  2.  The  cutting  can  be  accomplished 
by  either  threading  the  strokes  or  the  more  expert  way 
of  beveling  the  stroke.  In  doing  this  the  graver  is 

C1  V*  O 

inclined  to  the  side  and  the  stroke  cut  is  made  very 
shallow.  Fig.  3 shows  the  letters  as  they  should  appear 
ornamented  with  little  sprigs  evenly  arranged  about  the 
different  limbs..  These  are  produced  by  short  quick 
light  “digs”  from  the  several  sides  of  the  limbs  of  the 
letters  which  are  easily  acquired.  Ciphers  as  a rifle 
should  be  so  arranged  as  to  stand  and  read  in  the  regular 
manner  and  the  delicate  hairline  curves  free  from  one 
another,  avoiding  a tangled  mess  which  is  apt  to  confuse 
one  not  acquainted  with  their  structure. 

Fig.  4 represents  a more  plain  and  perpendicular  style, 
while  fig.  5 gives  the  arrangement  of  a larger  number  of 
letters,  though  systematically  entwined.  Each  individua 


GENERAL  LETTER  ENGRAVING.  75 

letter  is  prominently  discerned.  Fig.  6 shows  the  manner 
in  which  body  strokes  are  ornamented  (bright  cut)  to 
produce  a showy  effect.  This  is  an  instance  of  elaborate 
style,  and  is  a class  of  work  not  remunerative  enough,  as 
the  ordinary  line  of  custom  goes. 

Script  letters  should  be  cut  with  no  other  tool  than  a 
square  graver,  as  flat,  or  round  bellied,  or  lining  tools,  are 
more  adapted  to  other  styles  of  lettering,  such  as  Roman, 
Old  English,  or  an  ornate  letter  of  a conventional  type, 
having  broad  body  strokes  where  the  latter  tools  can  be 
used  more  advantageously. 

In  copying  designs,  to  produce  an  exact  presentation 
of  a letter,  cipher  or  monogram,  etc.,  upon  paper,  it  is  a 
ready  means  for  the  learner  or  even  the  skilled  artist  to 
accomplish  his  object  by  means  of  the  transfer  process, 
I have  explained  the  method  of  transferring  by  wax  or 
tallow  substance,  and  taking  an  impression  from  an  en- 
graving. No  doubt  you  have  traced  lines  through  tissue 
or  tracing  paper,  and  perhaps  have  even  tried  to  transfer 
the  object  or  design  to  another  paper.  Simple  as  it  may 
appear  transferring  by  this  process  may  frequently  aid 
you  and  save  time  in  re-sketching  accurately  the  design 
you  intend  to  imitate.  When  the  outlined  drawing  is 
made  on  the  thin  tracing  paper,  cover  the  under-side  by 
blacking  over  with  a lead  pencil,  or  other  similar  material 
of  any  color.  The  tracing  paper  is  then  laid  on  the  paper 
you  wish  the  design  drawn  upon.  Holding  the  tracing  pa- 
per, blackened  portion  down,  trace  the  outlines  over  again 
slightly  with  a steel  point  about  the  size  of  a crochet 
needle,  but  not  too  sharp.  Each  line  will  be  found  black, 
as  you  desire  it  for  re-sketching,  after  raising  the  trac- 
ing paper. 

This  method  is  resorted  to  for  other  purposes,  such  as 
transferring  upon  metal.  When  you  wish  to  transfer  the 
reverse  of  a letter,  monogram,  etc.,  trace  over  the  outline 


76 


GENERAL  LETTER  ENGRAVING. 


pencil  marks  with  common  indelible  ink,  using  a gold  or 
quill  pen,  then  by  breathing  twice  or  more  on  the  metal- 
lic surface  of  the  article  press  the  design  against  it  with 
your  index  finger.  It  will  be  found  that  the  lines  of  the 
indelible  ink  will  adhere  and  show  plain  enough  to  follow 
with  the  graver. 

I shall  now  try  to  explain  another  very  useful  and 
practical  branch  of  work,  worthy  of  close  application 
and  imitation  by  the  engraver,  whether  he  devotes  his 
whole  attention  to  his  art  or  combines  it  with  his  business 
as  jeweler.  In  fact,  as  I have  often  tried  to  impress  on 
my  readers,  that  every  jeweler  should  be  able  to  do  ordi- 
nary work  with  the  graver,  and  in  this  way  derive  profit 
as  well  as  pleasure  from  this  accomplishment. 

It  is  of  advantage  to  the  learner  who  has  acquired  a 
knowledge  of  the  different  alphabets  to  be  fully  conscious 
as  to  what  defects  in  letters  pass  usually  unnoticed  in  the 
hurry  of  execution,  but  which  are  plainly  discernable  to 
the  critical  eye  of  the  expert.  The  best  work  is  that 
which  is  produced  easily  and  rapidly,  with  good  judg- 
ment as  to  size  and  harmonious  arrangement,  skillful 
adaptation  to  space  and  the  conditions  of  the  articles  to  be 
operated  on,  with  steady  and  elegant  cutting,  in  body 
strokes,  curves  and  ornamentation. 

When  articles  of  almost  any  kind  are  presented  you  to 
be  marked  with  a name  or  initials,  required  to  be  done  in 
a passably  good  manner,  your  first  consideration  is  the 
style  of  letter  to  be  employed  and  the  position  and  manner 
where  the  inscription  should  be  placed.  You  will  have 
to  be  guided  by  the  make-up  of  the  article,  so  to  speak, 
where  to  place  your  letters  to  the  best  advantage,  and 
having  decided  this  point,  you  proceed  to  sketch  your 
letters  according  to  what  you  have  previously  been 
taught  in  this  series,  and  which  we  shall  assume  you  are 
competent  to  do  with  reasonable  expedition.  You  must 


GENERAL  LETTER  ENGRAVING. 


77 


perceive,  through  the  skeleton  outlines  which  you  have 
drawn  on  the  prepared  surface,  the  exact  place  where  a 
curved  line  or  body-stroke  should  be  cut.  Next,  you 
have  to  consider  that  due  proportion  is  given  to  the 
letters  during  the  process,  that  they  may  not  be  made  too 
large  nor  the  incisions  too  heavy.  Recollect,  that  the 
faintest  lines  are  all  that  is  required,  and  these  must  be 
evenly  cut  and  the  shaded  strokes  finished  off  nicely. 

To  entwine  initials  within  a circumscribed  space  so  as 
to  make  them  appear  well,  it  will  be  necessary  for  you  to 
exercise  some  taste  as  to  the  matter  of  arrangement,  and 
to  perform  your  work  with  rapidity,  enhances  its  value, 
inasmuch  as  it  imparts  to  you  a sense  of  satisfaction.  If 
the  cipher  is  distinctly  made  and  free  from  too  many  cur- 
vatures, gracefully  interwoven  in  its  several  parts  within 
each  other,  much  is  added  to  its  beauty.  The  letters 
may  be  made  elongated  or  extended  according  as  the 
space  upon  the  article  will  admit. 

You  may  be  required  to  cut,  for  instance,  upon  spoons, 
forks,  etc.,  where  there  is  a concave  or  convex  surface, 
wherein  the  task  of  cutting  becomes  more  difficult.  It  is 
apparent  that  to  engrave  well  on  such  surfaces,  you  must 
not  only  handle  the  graver  skillfully  in  producing  the 
cuts,  but  a greater  than  ordinary  degree  of  knowledge  is 
requisite  to  make  the  curved  parts  readily  and  in  good 
proportion. 

It  is  sometimes  necessary  to  introduce  several  devices 
or  styles  in  the  arrangement  of  letters  in  order  to  make 
them  appear  to  the  best  advantage.  Spoons,  forks,  etc., 
which  present  such  a diversity  of  patterns,  will  admit  of 
this,  and  the  specimens  shown  in  Plate  22,  taken  at  ran- 
dom from  the  writer’s  samples,  may  aid  you  to  an  under- 
standing of  the  variety  of  the  forms  to  be  engraved  onf 
and  in  adopting  the  correct  manner  of  placing  the  initials 
or  name  on  this  class  of  work: 


78 


GENERAL  LETTER  ENGRAVING. 


In  this  plate,  you  will  observe  the  many  spaces  in 
which  lettering  is  required  to  be  engraved  ; and  though  it 
is  but  ordinary  work,  yet  the  amateur  will  often  fail  to . 
plan  and  engrave  his  letters  without  patterns  to  be  guided 
by.  Thus  it  proves  an  important  matter  to  be  able  to 
perceive  instantly  the  style  of  lettering  best  adapted  and 
the  easiest  manner  of  engraving  it  upon  the  surface 
of  the  article,  of  whatever  pattern,  brought  to  you  to  be 
marked.  Comprehending  at  a glance  the  difficult  sur- 
faces, you  can  evade  them  by  recommending  to  your 
customer  the  style  of  lettering  you  deem  the  best  and 
easiest,  which  will  consume  perhaps  only  half  the  time 
to  do  it  which  a more  difficult  one  would  require,  with 
the  same  remuneration.  For  example,  we  take  the 
plain  script  at  fig.  7.  It  can  be  executed  much  more 
rapidly  than  if  they  were  the  same  initials  entwined,  as 
shown  at  figs,  3 and  8,  they  being  on  fiat  surfaces  or 
nearly  so.  Yet  at  fig.  5,  on  account  of  the  peculiar 
pattern,  with  its  convex  surface  the  letters  would  be 
about  as  difficult  to  execute  as  the  ciphers  referred  to  — 
Figs.  3 and  8. 

The  plain,  tipped  pattern  at  fig.  2,  or  shell  pattern 
shown  at  fig.  6,  would  be  much  easier  to  engrave  in  that 
manner  than  those  below  them,  figs.  9,  10  and  11, 
which  are  embossed  fancy  patterns,  with  uneven  surfaces. 
Fig  6 would  be  as  difficult  if  the  letters  were  engraved 
lengthwise,  as  those  patterns,  owing  to  its  embossed 
shell  interfering  with  the  stem  of  the  graver  while* 
cutting  the  letters.  However,  the  manner  of  engraving 
the  lettering  in  the  lower  patterns,  figs.  9,  10  and  11, 
seems  to  be  the  prevailing  style  for  all  “ unique”  solid 
silverware;  also  with  such  ware  as  Japanese  patterns, 
the  front  being  oxidized,  the  reverse  (back)  being  plam 
and  usually  engraved  longitudinally,  as  in  the  latter 
mentioned  styles. 


Plate  22. 


GENERAL  LETTER  ENGRAVING. 


79 


8o 


GENERAL  LETTER  ENGRAVING. 


It  is  to  these  points  you  should  direct  your  ideas,  and 
familiarize  yourself  with  other  practice,  so  that  you  will 
be  prepared  to  execute  with  dispatch  anything  presented 
in  the  foregoing  lines  to  be  marked. 

Figs.  4,  12  and  13,  as  you  will  observe,  are  patterns 
with  engraved  ornamentation,  and  the  lettering  on  these 
must  be  graded  accordingly,  as  shown.  Fig.  1 is 
intended  to  represent  how  a name  can  best  be  made  to 
appear  on  a flat  surface  in  preference  to  a cipher,  and  the 
mode  of  doing  so  is  too  apparent  to  need  explanation. 
The  shape  of  the  article  is  the  guiding  point  in  every 
instance. 

Of  the  several  alphabets  that  engravers  use,  and  whose 
formation  they  must  consequently  well  understand,  script 
is  the  most  difficult  to  acquire  a working  knowledge  of. 
The  script  style  is  used  by  engravers  to  a greater  extent 
perhaps  than  any  other ; and  this  fact  alone  should  demon- 
strate the  necessity,  even  urgency,  of  laying  stress  on  the 
best  means  of  learning  the  principles  which  govern  its 
formation.  How  many  engravers  there  are  who  find 
their  lettering  in  this  line  imperfectly  made,  and  who  can 
not,  for  some  reason  produce  the  desired  effect,  compared 
with  some  good  specimen  sample  which  they  have  per- 
haps casually  observed,  though  they  imagine  their  work 
is  skillfully  done. 

In  all  probability  excellent  specimens  of  script,  such  as 
attract  the  notice  and  awaken  the  envy  of  imperfect  prac- 
titioners, whether  in  cipher  or  inscription,  have  come  from 
some  of  the  large  cities,  some  establishment,  shop  or 
factory,  where  engravers  are  constantly  employed  upon 
the  several  classes  of  work — perhaps  one  or  all  that  cover 
lettering,  according  to  the  rank  the  artist  has  attained, 
viz.:  he  may  be  engaged  on  the  fine  class  of  work,  such 
as  cutting  script,  or  Roman,  old  English,  block  lettering, 
used  principally  on  inscriptions,  or  at  larger  work. 


GENERAL  LETTER  ENGRAVING.  8 1 

Engraving  these  styles  upon  door  plates,  metal  signs,  etc., 
constitutes  very  useful  departments  of  the  art;  then,  again, 
excel  at  monogram  engraving.  But  to  be  able  to  execute 
all  these  in  a high  order  is  characteristic  of  the  skilled 
workman. 

Apprentices  employed  in  these  establishments  have  to 
undergo  a thorough  training,  extending  ordinarily  over  a 
period  of  some  years.  It  is  this  term  of  severe  drill  and 
instruction  which  makes  them  experts — not  as  the  self 
taught  engraver  imagines,  having  become  proficient  at 
penmanship,  and  having  a few  months’  practice  with  a 
limited  supply  of  gravers,  which  he  thinks  will  enable 
him  to  produce  good  lettering,  according  to  his  own  ideas 
or  those  of  some  one  who  knows  as  little  or  less  about  it. 
This  misconception,  which  is  radical  and  highly  detri- 
mental to  progress  or  the  acquisition  of  sound  rudimentary 
knowledge,  is  the  underlying  cause  of  most  of  the  imper- 
fect lettering  which  offends  our  taste  under  the  name  of 
engraving. 

To  the  anxious  and  conscientious  instructor  who 
observes  the  failure  of  those  who  are  nominally  under  his 
tuition,  the  question  will  ever  recur:  Has  the  self-taught 
practitioner  commenced  the  acquisition  of  the  art  as  the 
apprentice  referred  to  is  obliged  to  do  ? Can  he  draw 
the  several  alphabets,  especially  the  script,  i.  e . round 
hand,  devoid  of  all  flourishes,  in  a correct  and  symmetrical 
form  ? 

In  the  latter  work,  which  may  appear  simple  to  those 
who  do  not  understand  it,  great  skill  is  required  to  form 
the  curved  portions,  limbs  of  letters,  etc.,  to  appear  neat 
and  in  correct  proportion,  and  to  make  the  combined 
lettering  properly  sloped  and  at  an  appropriate  angle. 
Hence  the  apprentice  is  obliged  to  practice,  at  great  pains, 
to  perfect  himself  for  several  months  in  drawing,  design- 
ing and  shaping  these  various  styles  of  lettering,  before 


' 6 


82 


GENERAL  LETTER  ENGRAVING. 


he  is  allowed  to  properly  commence  to  cut — from  the 
simplest  lines  to  the  boldest  ones  that  produce  formation — 
thus  building  his  ideas  in  cutting  from  fundamental  prin- 
ciples, hence  the  result,  like  everything  in  the  art  that  is 
to  be  done  well,  lettering  must  be  acquired  by  analysis. 

I would  suggest  a few  more  points  before  entering  on 
an  extended  explanation  of  the  principles  of  correct 
lettering,  which  will  familiarize  the  reader  with  the  custom 
and  surroundings  of  our  work  at  the  bench.  In  the 
following  illustration  will  be  seen  the  engraver  diligently 
at  work  upon  some  piece  of  jewelry  where  the  lettering 
is  to  be  cut  fine  and  requires  the  aid  of  the  glass. 

He  is  apparently  at  ease,  and  in  about  the  right  posi- 
tion to  facilitate  his  cutting  — 
sitting  at  a curved  table  so 
constructed  as  to  provide  all 
conveniences  while  at  work — 
it  may  seem  simple  enough  to 
ordinary  persons  to  consider 
such  matters,  but  even  trifling 
affairs  may  have  a bearing  or 
influence  in  aiding  the  work. 
The  matter  of  getting  a right  start  is  a point  of  great 
importance,  of  which  I have  spoken  in  some  of  the 
earlier  chapters;  but  with  few  exceptions,  of  the  many 
other  tools  necessary  for  all  special  portions  of  work, 
such  as  the  different  widths  of  flat,  lining  and  other 
gravers,  to  produce  the  effect  of  such  lettering  as  will 
be  observed  in  the  examples  to  follow  hereafter.  An 
engraver  should  not  hesitate  to  supply  himself  with  all 
tools  and  convenient  articles  pertaining  to  the  business. 
Experience  has  taught  me  that  often  while  at  work 
you  need  some  peculiar  graver  (or  something  else), 
to  aid  you  in  the  work,  whereby  much  time  might  be 
saved. 


GENERAL  LETTER  ENGRAVING. 


«3 


Now-a-days  almost  everything  required  can  be  reasona- 
bly obtained,  and  those  who  are  not  acquainted  with  the 
articles  they  need,  and  know  little  about  the  business, 
better  leave  the  selection  of  articles  to  an  instructor  and 
have  their  tools  prepared  for  them.  Then  if  they  choose, 
after  a course  of  instruction,  tempering,  etc.,  they  can  be 
guided  by  superior  patterns,  which  the  well-posted 
engraver  who  supplies  outfits  will  furnish,  his  judgment 
in  such  matters  is  the  best  and  should  be  implicitly  fol- 
lowed. It  is  the  same  in  the  matter  of  text  books.  It  is 
only  a few  standard  works  of  undoubted  authority  where 
selections  can  be  profitably  made,  and  where  the  speci- 
mens can  be  relied  upon  to  furnish  correct  examples  for 
the  engraver  who  has  not  the  hand  and  eye  of  a master 
to  guide  and  instruct  him. 

Regularity  is  an  indispensable  requisite  in  the  matter 
of  laying  out  lines  of  lettering  and  in  the  arrangement  of 
scrolls  about  them.  As  an  aid  to  the  proper  arrangement 
of  lettering,  the  learner  would  do  well  to  trace  guide 
parallel  lines  correctly  on  the  surface  of  the  article,  equal 
in  number  to  the  lines  of  lettering  intended  to  be  pro- 
duced. These  must  be  laid  down  in  due  order  and  taste, 
so  as  to  enable  the  learner  to  cut  them  easily  and  nicely, 
and  in  harmony  with  one  another  throughout  the  inscrip- 
tion. This  is  the  chief  starting  point,  and  one  on  which 
great  stress  should  be  laid;  and  the  primary  endeavor 
should  be  the  marking  of  precise  lines. 

In  Plate  23  will  be  found  specimens  of  inscriptions  and 
the  manner  in  which  they  should  be  formed.  The  first 
two  are  somewhat  limited  in  wording,  while  the  latter 
shows  the  several  styles  of  lettering  that  can  be  used 
tastefully  throughout,  to  bring  prominence  to  each  line. 
If,  by  chance,  either  a plain  or  elaborate  style  should 
be  selected,  it  might  be  best  known  how  to  adopt  let- 
tering for  such  style ; yet  a greater  or  less  display  can 


GENERAL  LETTER  ENGRAVING. 


Plate  23. 


GENERAL  LETTER  ENGRAVING. 


85 


be  made  according  to  the  size  of  the  inscription.  Even 
if  you  have  some  knowledge  of  the  proper  shapes  of 
letters  and  a fair  idea  of  the  manner  of  cutting  them, 
you  may  be  perplexed  in  laying  out  an  inscription  with 
precision  and  proper  order,  and  in  cutting  it  with  pro- 
portionate exactness  as  shown  at  fig.  1.  Experts  care- 
fully compass  the  different  lines  upon  a prepared  sur- 
face, using  great  pains  as  to  size  of  letters  and  spac- 
ing, After  the  wording  is  sketched  out  with  a wooden 
marker,  some  retrace  them  over  with  a steel  point  to 
prevent  the  lettering  from  being  rubbed  out  while  the 
work  of  cutting  is  in  progress.  Body-strokes  are  cut 
first,  throughout  a line,  one  way — downwards — and  fin- 
ished in  a similar  way,  by  reversing  the  article  wrought 
upon ; then  the  hair  lines  are  cut  in  similar  order.  This 
method  insures  the  cutting  of  even  strokes  throughout  the 
line.  Then  you  have  also  to  consider  the  arrangement 
of  the  several  styles  of  lettering,  using  those  only  that  will 
be  in  keeping  with  the  whole. 

If  the  inscription  consists  of  but  a few  lines,  the  down- 
ward cutting  of  the  body  strokes  is  usually  made  all 
through  the  several  lines.  In  this  way  all  the  lettering  is 
made  regular  and  on  a proper  angle.  After  this  the 
flourished  lines  are  added  from  the  top  to  the  bottom, 
made  to  balance  on  either  side  in  oval  proportioned  curves. 
A similar  method  of  treatment  is  applied  in  cutting  the 
inscription  shown  at  fig.  2,  where  a diversity  of  styles  of 
lettering  is  introduced. 

Finishing  each  letter  separately,  or  cutting  from  defec- 
tive tracing,  not  only  leads  to  irregularity  in  shape  and 
size  and  deviation  from  parallelism  in  the  lines,  but  the 
cuts  will  be  dissimilar  in  width  and  angles.  I have  seen 
self-taught  engravers  cutting  an  inscription  in  all  sorts 
of  ways,  English,  Roman  or  ornamental  styles,  but  they 
invariably  fail  to  produce  a regular  or  agreeable  effect. 


86 


GENERAL  LETTER  ENGRAVING. 


In  adding  other  kinds  of  lettering,  as  in  the  first  and 
second  lines  of  fig.  2,  a flat  tool  of  the  width  of  the  stroke 
is  used  to  cut  the  heavy  strokes  out  smooth,  which 
enables  the  operator  to  finish  such  lettering  more  easily 
and  regularly.  In  the  large  inscription,  fig.  3,  attention 
is  directed  to  the  manipulation  displayed  in  the  different 
tool  work,  wherein  skilled  and  delicate  workmanship  is  a 
necessary  requisite  to  produce  effective  and  artistic 
strokes.  The  plan  of  wriggling  well-proportioned  letter- 
ing produces  a handsome  and  graceful  appearance, 
when  performed  by  a hand  that  wields  the  graver  with 
dexterous  precision;  but  this  achievement  is  not  so  easy 
of  execution  as  a person  of  little  experience  or  limited 
skill  may  imagine.  It  is  a nice  matter  to  make  such 
strokes  so  as  to  make  them  show  up  throughout  a line 
even  and  without  defect.  None  but  a practiced  hand  can 
succeed  in  doing  good  work  of  this  description. 

Let  us  now  take,  for  instance,  Old  English,  or  other 
style  of  lettering  somewhat  similar  in  method  of  execu- 
tion, and  consider  the  best  manner  of  cutting  such.  The 
perpendicular  body-strokes  (leaving  out  the  angular  or 
curved  portions  at  top  and  bottom,)  should  be  cut  first. 
Observe  that  the  top  and  bottom  angular  strokes  are  made 
a trifle  wider,  so  as  to  give  prominence  to  the  letter  at 
either  end.  These  angular  portions,  (more  noticeable  in 
the  lower  case  than  in  the  capitals,)  must  be  produced  with 
systematic  regularity.  The  point  at  the  top  of  the  letter 
should  be  placed  directly  over  the  left  side  line  of  the  per- 
pendicular body-stroke,  while  that  on  the  bottom  should 
lie  directly  beneath  the  right  side  line.  These  points  may 
appear  trifles,  but  they  are  very  essential,  and  if  attended 
to  will  be  found  of  importance  in  guiding  the  cutter  to 
correct  forms  and  a harmonious  appearance  in  a line  of 
such  lettering,  and  will  impart  a finished  effect  on  the 
inscription. 


GENERAL  LETTER  ENGRAVING. 


87 


The  same  flat  tool  is  employed  upon  the  third,  fifth 
a^d  seventh  lines  of  fig,  3,  while  the  first  and  fourth 
require  the  use  of  a similar  tool,  but  having  the  cutting 
edge  a trifle  wider.  To  produce  the  heavy  sideline,  nec- 
essary to  all  such  lettering,  as  in  the  second  line  of  the 
same  figure,  whether  the  face  of  the  letter  is  either  plain, 
shaded  or  ornamental,  for  effect,  a two-line  lining  tool  is 
used,  and  the  work  wriggled  in  the  manner  described  in 
using  a flat  tool  is  more  frequently  applied  on  such  work 
and  in  cutting  the  line  out  smooth. 


1 


Plate  24. 


GENERAL  LETTER  ENGRAVING. 


89 


CHAPTER  VII 


HE  few  specimens  of  cipher  work  which  are  pre- 


sented in  Plate  24,  are  designed  to  show  styles  of 
script  capital  letters  for  ciphers,  and  the  manner  in 
which  they  can  be  intertwined,  with  ornamental  finish 
appropriate  to  each  group. 

The  learner  should  attentively  consider  these  speci- 
mens, especially  as  to  the  peculiarity  of  their  form,  com- 
bination and  ornamentation,  in  order  to  be  able  to  utilize 
his  knowledge  when  similar  pieces  of  work  are  pre- 
sented to  him  for  execution.  He  must  notice  where  a 
heavy  or  light  shade  is  given  to  produce  ornamentation, 
and  copy  these  examples  until  he  produces  the  requisite 
effect.  To  be  able  to  execute  such  work  one  must  have 
practice  in  scroll  engraving.  It  is  not  to  be  supposed 
that  a student  would  be  advanced  enough  to  sketch  and 
engrave  any  form  of  cipher  with  all  its  characteristics, 
in  the  manner  of  a skilled  hand,  without  some  knowledge 
and  practice  of  details  beforehand.  So  it  is  with  orna- 
mentation, which  calls  for  trained  ideas,  skill  and  taste, 
in  regard  to  the  shape  of  the  line,  scroll,  etc.,  also  the 
manner  of  using  the  tool,  making  those  quick,  accurate 
curves  which  alone  produce  finished  cuts. 

Ciphers  of  light  but  neat  and  artistic  embellishment, 
owing  to  the  small  amount  which  customers  are  willing 
to  expend,  though  at  the  same  time  desirous  of  having 
handsome  lettering  engraved  on  their  articles,  form  ex- 
cellent substitutes  for  monograms,  which  being  more 
elaborate,  consume  much  more  time  without  correspond- 
ing remuneration. 


9o 


GENERAL  LETTER  ENGRAVING. 


Fig.  i represents  a style  that  can  be  used  upon  jewelry 
or  articles  of  silverware  of  medium  engraving  space,  such 
as  a spoon,  a small  shield,  a fruit-knife,  a match-box, 
watch,  napkin-ring,  etc.  Figs.  2 and  3 are  better  adapted 
for  larger  space.  Some  people  prefer  them  to  mono- 
grams in  having  their  initials  engraved  on  a plain  sur- 
face, such  as  a watch  case.  To  execute  them  nicely, 
especially  the  style  shown  in  fig.  3,  requires  about  the 
same  amount  of  labor  as  a monogram.  That  shown  in 
fig.  2 produces  a handsome  effect  upon  a plain  polished 
surface,  such  as  a watch-cap;  and  it  has,  when  done 
smoothly,  the  appearance  of  being  raised.  The  same 
method  is  employed  to  finish  the  letters  as  if  they  were 
interwoven  into  a monogram. 

This  style  of  engraving,  of  simple  lining,  of  different 
widths,  lengthwise  of  the  letter,  in  the  form  of  either 
cipher  or  monogram,  is  one  of  the  latest  prevailing 
styles.  The  letters  are  first  outlined  with  a square 
graver,  and  then  gone  over  again  with  a polished  hat- 
bottom  tool.  In  the  case  of  the  cipher — the  work  we 
are  considering  — when  finishing  the  letters,  the  tool  in 
cutting  the  incision  is  made  to  bevel  towards  the  center 
of  the  stroke,  all  around,  using  the  flat  tool  when  the 
cutting  is  to  be  finished  heavy,  as  will  be  observed  on 
the  righthand  side  of  these  cipher  letters.  The  fine 
lines  that  run  throughout  the  centre  of  the  strokes 
should  be  made  so  as  to  not  quite  touch  each  other. 
In  using  either  the  graver  or  the  flat  tool,  during  the 
process  of  the  finishing,  the  flat  portions  of  the  tool 
should  be  polished.  If  a monogram  is  to  be  engraved, 
similar  lines  are  finished  alike  on  each  letter,  the  only 
difference  being  that  a heavy  shade  should  be  cut  all 
around  (on  both  sides  of)  the  monogram’s  stroke, 
instead  of  confining  the  shade  to  one  side  only,  as  in. the 
case  of  the  cipher. 


GENERAL  LETTER  ENGRAVING.  9 1 

The  cipher  would  appear  to  the  generality  of  people 
as  desirable  for  purposes  of  ornamentation  as  a mono- 
gram, and  yet  there  is  a material  difference  in  the  con- 
struction and  execution.  Matters  of  this  kind  must  be 
thoughtfully  considered  by  the  engraver,  else  the  extra 
time  consumed  in  performing  a job,  if  the  design  is  ex- 
ecuted in  the  best  style,  would  be  practically  wasted; 
whereas,  as  far  as  the  customer  is  concerned,  not  ap- 
preciating the  difference,  the  engraver  might  as  well,  in 
the  first  instance,  have  adopted  a simpler  style  of  letter 
and  form  of  embellishment,  which  might  not  take  him 
over  a quarter,  or  one-half,  the  time  to  execute,  for  the 
same  price.  In  any  case,  the  engraver  must  be  expert 
and  quick  in  finishing  off  his  monogram,  or  in  the  sub- 
stitution of  a style  that  pays  within  the  price  set  for  the 
work.  I have  seen  some  engravers  who  were  dexterous 
enough  in  working  on  a monogram  and  comparatively 
slow  in  cutting  cipher,  or  on  inscription  work,  by  reason 
of  practical  skill  in  the  former  and  being  inexperienced 
in  the  latter.  However,  it  is  chiefly  to  the  learners  that 
I address  myself  in  these  pages,  who  build  up  their 
ideas  from  what  they  see,  and  hope  for  success  in  course 
of  practice. 

The  following  example  of  monograms  are  intended  to 
bring  to  the  view  of  the  learner  a representation  of  the 
step  of  transition  from  the  group  of  ciphers  given  in  the 
preceding  pages,  to  afford  a chance  for  observation  and 
comparison.  These  are  selected  more  for  their  face  em- 
bellishment than  as  being  strictly  in  accordance  with  pre- 
cision of  design  in  the  matter  of  intertwining. 

These  monograms  are  suitable  for  plain  surfaces,  such 
as  watch  cases,  silver-cased  mirrors,  silver-backed  brushes 
or  other  such  articles,  and  are  best  adapted  for  an  oval 
or  oblong  space,  where  the  combined  letters  will  show  to 
the  best  effect. 


92 


GENERAL  LETTER  ENGRAVING. 


It  will  be  observed  that  each  group  of  lettering  has 
ornamental  scroll  work,  given  merely  as  an  additional 
embellishment  to  the  form.  This  may  appear  to  com- 
plicate the  formation  of  the  letters  and  render  them  more 
difficult  to  design  and  cut;  but  the  learner  must  not  be 
discouraged  by  this  seeming  difficulty.  Let  him  first 
study  the  form  of  the  letters,  without  their  ornament, 


Fig.  d.  Fig.  3. 


Plate  25. 

and  then  go  over  the  combined  group  and  observe  how 
the  scroll  work  is  added  and  try  to  appreciate  its  effect. 
Then,  when  familiar  with  these  examples,  he  may  try 
to  design  others  of  his  own  creation  or  fancy,  and  add 
the  ornamentation  as  before ; only  take  care  to  give  each 
letter  its  appropriate  shape  and  relative  prominence  in 
the  figure.  The  dominant  letter  of  the  group  must  be 
treated  as  such,  and  not  sacrificed  at  the  caprice  of  the 
designer,  to  the  elaboration  of  its  subordinates. 


GENERAL  LETTER  ENGRAVING. 


93 


In  designing  scrolls  in  connection  with  such  lettering 
as  above,  it  is  necessary  to  produce  them  in  graceful, 
rolling  curvatures,  and  judiciously  employed,  so  as  not  to 
crowd  the  space  about  the  letters.  If  a vine  or  ovaloid 
tapering  scroll  is  requisite  to  fill  up  spaces  and  add  to  the 
effect  of  letters,  it  should  be  made  light,  and  with  har- 
monious uniformity. 

The  polished  square  and  round  gravers  are  used  to 
great  advantage  in  this  work ; also  flat  tools  and  lining 
gravers,  to  some  extent.  Of  the  latter  there  are  many 
sizes,  of  different  degrees  of  fineness  and  closeness  of 
line.  With  those  the  finish  is  made  effective  when  they 
are  called  into  use  by  the  nature  of  the  work. 

Fig.  i,  Plate  25, — C P B — will  present  a pleasant  ex- 
ercise for  the  learner  for  designing  and  cutting.  The 
parallel  lines  in  B should  be  finely  shaded,  and  bright, 
effective,  even  “digs”  and  ornaments  should  afterward 
be  put  in.  The  same  rule  applies  to  the  B in  fig.  2 — B 
S C — but  the  C should  be  shaded  the  most  conspicious, 
and  the  ornamented  parts  of  S are  to  be  brought  out  in 
relief.  Fig.  3 — J.  B — has  the  handsomest  embellishment 
of  the  three  specimens,  and  some  careful  study  is  required 
in  the  tool  work  to  do  justice  to  such  a design. 

My  readers  who  have  endeavored  to  imitate  the  speci- 
mens contained  in  the  preceding  pages,  must  have  ex- 
perienced a measure  of  success  in  proportion  to  their 
ability  to  design  them  correctly.  If  not  properly  sketched, 
however  well  the  graver  has  been  handled,  the  result 
can  not  have  been  satisfactory.  Perfection  in  designing 
is  an  aim  important  enough  to  engage  the  ambition  of  the 
learner,  and  an  indispensable  requisite  in  the  pursuit  of 
his  calling.  The  draughtsman  who  can  form  his  lines 
and  curves  accurately  and  in  harmonious  arrangement, 
could  never  do  so  if  he  had  not  practiced  his  art  a long 
time,  and  it  is  so,  in  a great  degree,  with  the  engraver. 


94 


GENERAL  LETTER  ENGRAVING. 


In  laying  out  a monogram,  first  design  it  as  correctly 
as  you  can.  Learn  to  do  this  rapidly  and  neatly.  You 
may  not  succeed  on  the  first  attempt,  or  several  attempts, 
but  keep  on  trying  and  you  will  soon  improve  so  as  to  be 
tolerably  skillful.  Do  not  fall  into  careless  habits;  you 
must  rigidly  adhere  to  the  rules,  and  endeavor  to  do  your 
best  every  time.  You  gain  ability  by  degrees,  and  will 
wonder  how  easily  you  improve  on  your  first  crude  efforts. 

When  you  have  formed  the  outlines  of  a monogram 
on  paper  to  your  satisfaction,  you  can  improve  on  it  as 
you  lay  it  out  on  the  prepared  surface  of  the  metal  with 
the  wood  marker.  This  process  needs  great  care,  for 
if  you  commit  any  errors  in  this  part  of  your  exercise 
you  will  reproduce  them  indelibly  on  the  graved  figure. 
But  there  is  no  excuse  for  blundering.  Try  and  be  ac- 
curate, at  least,  even  if  you  can  not  produce  nice  work. 
That  will  come  later. 

The  figure  engraved,  whether  cipher,  monogram  or 
other  device,  should  be  so  cut  so  as  to  have  some  ap- 
pearance of  relief,  such  as  may  be  produced  by  the  pen- 
cil in  drawing.  All  this  can  be  seen  and  comprehended 
at  a glance  on  examining  a piece  of  good  engraving. 
Observe  a thin  gold  watch  case,  having  engraved  bevel 
shields,  scrolls,  flowers,  etc.,  thereon,  and  you  will  per- 
ceive an  apparent  solid,  deep  cutting  of  the  designs,  but 
they  are  actually  and  necessarily  cut  with  very  shallow 
strokes.  This  illusion  is  useful  for  effect,  and  it  must 
be  thoroughly  studied  and  mastered,  as  all  monogram 
work  where  bright  cutting  is  required  demands  the  bevel 
method.  Heavy  cutting  would  be  very  likely  to  show 
through  the  case,  even  if  the  latter  were  of  passable 
thickness,  and  this  error  can  be  avoided  by  taking  the 
necessary  precautions. 

The  following  examples  of  monograms  furnish  differ- 
ent styles  of  face  embellishments.  In  Plate  26,  fig.  1 — 


Plate  26. 


95 


GENERAL  LETTER  ENGRAVING. 


96  GENERAL  LETTER  ENGRAVING. 

P T F — the  shading  in  the  letters  P and  F are  pretty 
much  alike,  but  the  lines  in  P are  horizontal,  while  those 
in  F run  diagonally.  Either  one  of  these  letters  requires 
care  and  nice  handling  to  cut  the  lines  true,  so  as  to  ap- 
pear equal  throughout.  After  the  letters  are  outlined,  you 
should  recoat  the  surface  and  trace  the  lines  as  you  want 
them  to  appear,  with  the  aid  of  a flexible  steel  straight 
edge,  graduated.  These  lines  must  not  be  marked  too 
close  together,  because  if  left  far  enough  apart  they  will 
act  as  guides,  and  the  eye  being  trained,  you  can  easily 
cut  one  or  two  lines  between  the  ones  so  laid  out. 

After  sufficient  practice  these  lines  can  be  cut  very 
rapidly.  The  less  retouching  or  recutting  your  lines,  the 
better  your  work  will  appear.  The  shading  has  a 
brighter  appearance  when  commenced  at  the  top  and 
worked  downwards.  The  work  may  be  just  the  same 
in  the  reverse  operation  and  yet  the  difference  is  quite 
perceptible. 

Such  ornaments  as  beautify  the  strokes  of  the  letters, 
as  I mentioned  in  the  preceding  pages  on  the  topic  of 
embellishment,  are  added  later.  This  applies  also  in  the 
case  of  letters  which  engravers  call  open-faced. 

Fig.  2 — R V W — makes  a handsome  monogram  of 
the  simpler  ornate  kind.  The  shade  lines  in  W are  made 
closer  than  in  those  just  referred  to  above.  The  orna- 
mentation in  V is  coarser  for  the  sake  of  contrast,  and 
made  with  a fine  flat  tool.  The  ornaments  on  R are  pro- 
duced by  keen  cuts  of  the  square  graver  from  the  center 
of  a circle  in  the  manner  of  sun-rays.  They  are  very 
effective  when  systematically  done,  either  on  a plain  or  a 
satin-finished  surface. 

Fig.  3,  the  four  letter  monogram — W B G R — has 
upon  two  of  its  members  a considerable  amount  of  orna- 
mentation, each  necessarily  distinct  in  this  particular.  The 
black  lines  in  the  letters  represent  the  cuts  on  the  metal 


GENERAL  LETTER  ENGRAVING. 


97 


in  these  as  in  the  preceding  examples.  In  the  dominant 
letter  R,  the  dark  portion  is  supposed  to  represent  “digs” 
made  with  the  square  graver,  cutting  the  surface  away 
and  leaving  the  white  herring-bone  center  running  through 
the  letter.  After  a little  close  observation,  almost  any 
engraver  can  see  how  this  work  is  done 

Fig.  4 — 1887 — is  what  may  be  termed  a cipheroid 
monogram,  and  with  its  pretty  circular  border,  makes  a 
handsome  combination.  It  is,  as  will  be  apparent  at  a 
glance,  composed  of  shaded  scroll  lines  throughout,  and 
differs  in  this  respect  from  the  preceding  groups.  Simi- 
larity and  evenness  of  design  are  here  requisite.  Many 
designs,  like  the  border  of  this  figure,  variable  in  pattern, 
may  be  observed  in  the  outer  surfaces  of  watch  cases. 

Plates  27  and  28  show  two  specimens  of  monograms 
somewhat  different  from  the  examples  shown  hereto- 
fore. 

It  will  be  noticed  in  the  monogram  T J S — Plate  27 — 
that  there  is  not  a great  amount  of  work  placed  upon  the 
face  of  the  letters,  the  principal  feature  being  the  peculiar 
manner  and  exactness  of  detail  in  which  the  embellish- 
ment is  executed.  While  the  T is  cross-lined,  the  J is 
left  plain,  except  the  addition  of  a hair-line  running  around 
the  inner  edge,  and  a few  dots,  evenly  spaced,  throughout 
to  relieve  the  monotony  of  uniformity.  The  dominant 
letter  S has  minute  beaded  circlets  on  its  surface,  which 
in  the  engraved  letter  on  metal  are  left  in  bas-relief  while 
the  surrounding  portions  of  the  surface  are  cut  away  with 
a square  graver.  These  little  rings  are  marked  out  with 
a steel  point  at  first,  then  an  inner  line  is  cut  around,  simh 
lar  to  the  lining  of  the  letter  J.  The  rings  are  then  picked 
around  with  the  graver,  and  finished  by  cutting  a little  dot 
from  the  center  of  each  with  a dotting  tool. 

All  the  shaded  portions  and  the  little  ornaments  on 
the  outside  of  the  letters  must  be  carefully  observed  and 


98  GENERAL  LETTER  ENGRAVING. 

minutely  attended  to.  No  dot  or  stroke  should  be 
deemed  by  the  learner  too  trivial  to  reproduce,  as  they 
are,  each  and  all,  distinct  and  material  adjuncts  of  the 
complete  letter. 

The  rules  as  to  drawing  and  cutting  are  about  the 
same  as  in  the  case  of  previous  combinations  of  letters.  I 
presume  my  readers  have  paid  attention  to  these  obvious 
instructions,  and  that  needless  reiteration  is  obviated. 
When  the  subject  demands  it,  particular  directions  as  to 
designing  and  cutting  will  be  given. 

In  Plate  28 — 1887 — a difficulty  is  presented  at  the 
start  in  the  matter  of  intertwining,  by  reason  of  the  num- 
bers 1 and  7 being  both  perpendicular  in  their  main  por- 
tions. This  is  met  by  the  peculiar  shape  given  to  the  7» 


Plate  27.  Plate  28. 


which,  while  it  makes  a handsome,  even  if  slightly  fan- 
tastic and  far-fetched  figure,  varies  gracefully  from  the  in- 
evitable perpendicularity  of  the  unit  figure.  This  device 
must  be  resorted  to  also  when  two  or  more  letters  present 
a similar  dilemma  by  reason  of  uprightness  of  formation. 
They  must  be  twisted  and  curved  in  such  a manner  as  to 
secure  diversity  in  the  combination.  Observe  the  same 
peculiarity  and  the  mode  of  arrangement  in  the  case  of  T 
and  J in  Plate  27.  These  examples  will  give  a fair  idea  of 
treating  letters  and  figures  that  approximate  in  shape. 

The  two  figures  8 are  usually  made  similar  in  form, 
while  the  1 and  7 require  different  shading.  The  domi- 
nant figure  should  receive  the  more  elaborate  treatment. 


GENERAL  LETTER  ENGRAVING. 


99 


The  style  of  embellishment  suitable  for  either  of  these 
specimens  may  be  varied  according  to  the  circumstances 
of  each  particular  piece  of  work,  or  the  learner  may  exer- 
cise his  ingenuity  in  this  direction,  by  drawing  several 
designs,  each  with  different  ornamentation.  So  long  as 
the  work  is  done  in  good  form,  the  style  of  ornament  is 
immaterial.  Bizarre  and  incongruous  ornate  fancies  are, 
however,  to  be  avoided.  Every  step  taken  by  the  en- 
graver must  conform  to  good  taste.  The  formation  of 
the  designs  and  outlines  are  the  prime  points  in  this  work, 
to  which  all  subsequent  details  must  be  subordinate. 

In  pursuance  of  the  subject  of  monogram  engraving, 
there  is  a source  of  danger  against  which  I wish  to  cau- 
tion the  learner.  To  guard  against  it  will  require  a de- 
gree of  care  and  delicacy  of  handling  which  will  be  amply 
repaid  if  the  trouble  be  obviated.  This  is  in  the  matter 
of  engraving  monograms  on  elegant  and  costly  articles 
highly  polished,  or  of  Etruscan  finish—  especially  the 
latter. 

I was  peculiarly  sensitive  and  nervous  on  this  point  in 
my  early  attempts  at  monogram  engraving  on  the  class 
of  articles  mentioned.  It  was  my  fate  to  have  to  deal  with 
articles  of  very  delicate  and  difficult  workmanship,  which 
called  for  the  most  thorough  and  elegant  engraving,  at  a 
time  when  my  knowledge  of  the  theory  and  practice  of  the 
art  were  far  from  being  perfect.  But  the  work  had  to  be 
done,  nevertheless,  and  I was  obliged  to  meet  and  master 
the  difficulties  of  the  situation. 

As  the  same  trouble  may  possibly  beset  the  readers 
for  whose  benefit  these  pages  are  written,  it  may  be  well 
to  point  out  how  to  proceed  under  similar  circumstances. 
Those  who  learn  under  the  eye  of  a master  are  necessarily 
posted  on  this  subject  in  the  course  of  their  instruction. 

When  the  monogram  is  designed  in  a careful  and  cor- 
rect manner,  on  the  class  of  work  referred  to,  and  the 


IOO 


GENERAL  LETTER  ENGRAVING. 


graver  is  brought  into  play,  the  most  careful  and  exact 
cutting  is  required  on  the  strokes  of  the  letters,  and  the 
slightest  slips  or  scratches  must  be  rigidly  avoided.  The 
design  must  be,  in  the  first  place,  clear  and  accurate,  and 
the  cutting  must  follow  the  lines  so  marked  out  without  a 
particle  of  deviation.  Any  slight  defect  or  scratch  in  the 
cutting  will  spoil  the  effect  of  the  work  unless  it  can  be 
remedied,  and  it  is  such  cases  where  the  attempt  to 
correct  a trivial  blunder  or  slip  is  hazardous  or  imprac- 
ticable. The  color  of  the  gold  being  brought  to  the  sur- 
face by  an  operation  well  known  to  gilders  and  jewelers, 
it  forms,  so  to  speak,  a thin  coating  or  crust,  through  which 
even  a slight  scratch  or  incorrect  cut  will  show  distinctly; 
and  it  cannot  be  erased  by  the  burnisher,  as  it  would 
spoil  the  effect  in  the  case  either  of  a polished  surface  or 
deadened  Etruscan  finish.  On  the  Etruscan,  or  satin  fin- 
ish, the  process  of  erasing,  a scratch  or  cut  by  the  bur- 
nisher is  even  more  difficult  than  on  a polished  surface; 
for  on  the  latter  some  effort  at  correction  is  possible,  and 
very  slight  scratches  may  be  obliterated  by  the  burnisher, 
though  the  surface  be  left  impaired;  while  in  the  former 
case,  the  burnisher  will  change  the  nature  of  the  surface, 
and  its  use  is  therefore  unauthorized.  Burnishing  on 
satin-finish,  to  rub  out  erroneous  cuts,  therefore  only  sub- 
stitutes one  kind  of  blunder  for  another.  When  a scratch 
or  false  cut  is  made  on  the  deadened  surface  of  gold 
work  some  artists  imitate  the  ostrich  when  pursued, 
which  hides  its  head  in  the  sand,  and  leaves  its  body  ex- 
posed to  the  hunter.  That  is,  they  improvise  a scroll  or 
some  quasi-ornamental  work  to  cover  the  fault,  but  usu- 
ally leave  a conspicuous  evidence  of  failure  plain  to  be 
seen.  Such  work  manifestly  appears  to  have  been 
touched  over  to  conceal  a defect. 

As  we  have  seen,  a light  scratch  or  line  made  by  a 
graver  or  steel  point  may  be  erased  by  the  use  of  a 


GENERAL  LETTER  ENGRAVING. 


IOI 


polished  burnisher,  or  by  rouge  with  a hand  or  wheel- 
buff;  but  these  appliances  must  be  used  to  only  a limited 
extent,  otherwise  creases  or  ridges  will  be  perceptible. 
For  instance,  if  a deep  cut  were  made  on  a watch  case 
with  the  graver,  where  no  engraving  or  ornament  was 
necessary  or  allowable,  the  cut  would  have  to  be  filled 
out,  and  the  case  would  have  to  undergo  repolishing. 

To  the  engraver  who  has  but  little  experience  of  mono- 
gram work,  the  preceding  hints  may  be  suggestive  and 
useful,  as  upon  any  work  there  is  always  a liability  of 
making  scratches,  more  or  less  serious;  but  when  these 
occur  on  very  fine  work,  or  on  surfaces  that  must  not  be 
tinkered  with,  the  necessity  for  the  exercise  of  caution 
becomes  emphasized.  Any  engraving,  however  well 
done,  will  present  a faulty  appearance  if  the  cutting  is 
not  made  clean,  regular  and  distinct  in  all  its  parts,  and 
this  is  especially  so  where  the  surface  is  peculiar  and  will 
not  bear  any  marring  or  trespass. 

If  care  is  taken  in  handling  and  laying  out  the  design, 
much  is  gained,  not  only  in  effective  production,  but  even 
moderate  specimens  of  workmanship  show  to  greater 
advantage  if  the  surface  of  the  metal  is  kept  free  from 
defects;  and  if  polished,  this  polish  must  be  carefully  pre- 
served. When  working  on  small  polished  articles,  such 
as  a locket,  a watch-case  or  piece  of  plate,  a piece  of 
chamois  is  usually  interposed  between  the  article  and  the 
pad  on  which  the  work  is  done.  Even  then,  the  constant 
turning  in  the  course  of  engraving  will  cause  the  surface 
to  become  slightly  scratched,  and  these  scratches,  how- 
ever infinitesimal  in  point  of  depth,  will  mar  the  beauty  of 
the  article.  To  obviate  this,  engravers  trim  a piece  of 
paper  of  about  the  size  of  the  article  and  gum  it  on  the 
lower  or  reverse  side,  and  in  this  manner  wholly  prevent 
any  marring  or  scratching  of  the  surface.  When  the 
work  is  complete,  the  paper  and  gum  are  easily  washed  off. 


102 


GENERAL  LETTER  ENGRAVING. 


I referred  to  the  difficulty  presented  in  intertwining  the 
members  of  a monogram  where  two  of  the  letters  or 
figures,  as  the  case  may  be,  exhibit  a general  similarity 
in  shape.  The  perpendicular  strokes  were  difficult  to 
entwine,  and  so  in  the  case  of  the  mongram  made  from 
the  letters  J T G,  (Plate  29,)  a script  form  of  letter  is 
introduced,  and  by  a very  slight  alteration,  by  making  the 
top  of  the  letter  T smaller,  and  by  taking  off  the  inner 
curve  encircling  portion  of  the  J,  it  would  answer  as  J J G. 
This  feature  will  be  observed  in  the  matter  of  intertwin- 
ing all  such  letters  having  general  similarity  of  outline, 
such  as  J J,  J L,  I I,  and  others.  A script  style  or  odd  form 
of  letter  must  be  adopted,  topreserve 
harmony  by  creating  variety. 

In  ornamenting  the  face  of  the 
letters,  the  discretion  of  the  de- 
signer is  left  to  be  exercised,  as 
taste  and  invention  have  to  be  devel- 
oped. The  principal  point  consists 
in  making  the  last  letter  the  most 
conspicuous;  the  others  may  be  left 
to  the  engraver’s  fancy  or  judgment.  Much  depends  upon 
the  remuneration  received  for  the  work,  as  the  workman 
cannot  waste  his  time,  for  trifling  compensation,  in  mon- 
ograms of  intricate  design  and  elaborate  finish. 

It  frequently  happens  that  it  is  quite  difficult  to  form  a 
monogram  that  will  be  at  once  neat  and  accurate,  on 
account  of  the  shape  of  the  letters  which  must  be  inter- 
twined. In  the  real  work  this  often  occurs,  as  then  we 
can  not  select  our  letters,  but  have  to  deal  with  those  sub- 
mitted to  us;  and  in  practice  we  have  tp  accustom  our- 
selves to  realize  this  possibility  and  arm  ourselves  against 
it.  The  chief  way  to  accomplish  this  is  to  practice  on 
letters  difficult  to  combine  and  vary  their  forms  and 
arrangement  to  suit  active  use  in  emergencies. 


Plate  2g. 


GENERAL  LETTER  ENGRAVING. 


103 


Amateur  designers  aim  to  select  styles  or  shapes  of 
letters  to  combine  with  others,  which  produce  a flowing 
and  graceful  effect,  but  in  such  cases  the  principles  of 
formation  are  often  violated  or  ignored.  Art  is  inexora- 
ble and  no  departure  from  correct  standards  of  form,  no 
infringement  on  proportions  of  arrangement,  can  be  toler- 
ated . If  these  matters  were  studied  and  considered  more 
closely,  so  as  to  enable  the  amateur  or  learner  to  become 
familiar  with  them,  combinations  of  letters  would  not  alone 
be  more  readily  understood,  but  practical  and  precise 
arrangement  would  be  much  facilitated. 

For  instance,  three  letters  of  a kind,  of  the  same  gen- 
eral tendency  of  structure,  may  be  required  for  inter- 
twining. Should  the  form  and  finish  of  such  letters  be 
made  alike,  even  if  faultless  in  design,  the  result  would 
be  indistinct  and  unsatisfactory.  It  is  obvious  that  in 
such  a contingency  some  one  or  more  of  the  letters 
require  modification  of  outline,  and  it  is  here  where  the 
skill  and  originality  of  the  designer  come  into  valuable 
requisition. 

Another  point:  Some  letters,  component  parts  of  mono- 
grams,  are  made  with  their  limbs  twisted  around  the 
strokes  of  other  letters,  and  in  some  cases,  owing  to  pecu- 
liarity of  form,  this  style  is  unavoidable;  but  good  taste 
demands  that  limbs  of  letters  should  run  over  and  under 
adjacent  portions  of  others,  alternately,  in  regular  order, 
so  as  to  lap  gracefully. 

The  outlined  specimens  are  intended  to  convey  the 
idea  and  impart  the  method  of  forming  odd  combinations; 
that  is,  grouping  letters  in  a monogram,  which  from  the 
peculiarities  of  their  structure,  are  not  easily  entwined  to 
advantage.  How  this  trouble  is  obviated  is  better  shown 
by  sketches  or  diagrams  than  by  any  reasonable  amount 
of  verbal  description.  An  object  lesson  teaches  easier 
and  faster  than  a lecture  or  disquisition. 


104  GENERAL  LETTER  ENGRAVING. 

The  combinations  presented  in  Plate  30,  are  made 
severely  plain,  for  the  benefit  of  learners.  They  are  not 
designed  as  models  of  elegance,  but  are  easily  susceptible 
of  elaboration  and  ornate  development,  so  as  to  appear 
finished  specimens.  Superfluous  ornamentation  in  dia- 
grams for  purposes  of  plain  instruction  would  be  incon- 
gruous and  out  of  place.  Neither  are  they  what  we 
would  term  good  letters  to  select  for  a monogram,  or  as 
having  requisite  gracefulness  and  development  of  por- 
tions to  exhibit  as  specimens  of  art.  Still,  where  letters 


Plate  jo, 


are  of  a kind,  having  limbs  running  generally  in  a similar 
direction,  making  them  difficult  to  entwine,  something 
must  be  done,  some  peculiarity  of  shape  must  be  given  to 
one  or  more  letters,  not  only  for  convenience  but  for  effect 
and  variety. 

The  round  form  of  E,  and  the  W,  with  its  loops, 
are  not  acceptable  styles,  and  so  with  some  of  the 
mediaeval  letters,  owing  to  their  spreading  or  extended 
form.  They  should  not  be  chosen  if  an  ornamental  style 
of  letter  would  answer  the  purpose  as  well.  The  substi- 


GENERAL  LETTER  ENGRAVING.  105 

tution,  where  permissible,  is  always  desirable  for  the  con- 
venience of  the  designer,  and  enhances  the  appearance 
of  the  work. 

Monogram  designing  depends,  to  a great  extent,  on 
the  taste  and  skill  of  the  designer;  but  this  discretion 
must  be  exercised  within  proper  limits  and  must  not  be 
capricious  or  arbitrary,  but  so  as  to  retain  harmony  in  size 
and  due  prominence  to  the  dominant  letters.  Variation 
of  form  and  outline  does  not  involve  contrarieties  of  style 
or  militate  against  relative  proportion,  which  must  be 
inseparable  from  every  group. 

Monograms  are  sometimes  engraved  upon  such  sub- 
stances as  ivory,  pearl  or  other  material  of  light  and  soft 
texture,  and  in  such  situations  show  to  little  advantage 
except  where  filled  in  with  some  colored  substance.  Of 
these  filling-in  substances,  “black  ball”  is  the  readiest  and 
most  convenient,  and  therefore  the  most  practical,  as  it  can 
be  rubbed  in  and  cleaned  off  the  surface  of  an  article  with 
the  least  trouble  so  as  to  remove  all  superfluous  portions. 
Engraving  upon  the  materials  mentioned,  however,  calls 
for  more  than  ordinary  care  and  the  most  minute  atten- 
tion. Every  line  and  curve  has  to  be  cut  true,  as  the 
slightest  defector  scratch  is  brought  to  view  when  the  let- 
ters are  filled.  The  work  of  engraving  is  made  much 
more  difficult,  as  the  whiteness  of  the  material,  when  cut, 
is  not  so  readily  apparent  as  the  brightness  of  the  in- 
cisions made  on  metal. 

The  usual  process  of  preparing  the  surface  for  such 
material  is  with  wax  preparation,  as  has  been  previously 
explained  in  these  pages;  but  a little  dark-colored,  pow- 
dered chalk  is  sprinkled  over  the  wax  to  make  a more 
distinct  and  effective  surface. 

To  cut  the  strokes  of  the  letters  entirely  out  to  the 
full  width  of  the  outline  of  the  present  examples  would 
not  exactly  suit,  as,  if  the  incision  was  of  an  extraordin- 


io6 


GENERAL  LETTER  ENGRAVING. 


ary  width,  there  is  a liability  of  the  soft  filling  being 
easily  rubbed  out.  Fine  lines  engraved  lengthwise  and 
bearing  minute  ornamentation  of  almost  any  shape,  or 
cross-lining  at  various  angles,  constitute  about  as  effect- 
five  a finish  as  can  ordinarily  be  given  to  the  face  of  let- 
ters cut  on  the  materials  aforesaid.  It  is  not  advisable 
for  engravers  to  attempt  cutting  monograms  on  materials 
such  as  those  mentioned  until  they  are  pretty  well  skilled 
in  sketching  and  cutting  on  metals. 

The  examples  given  in  Plates  31  and  32,  are  intro- 
duced to  show  monograms  which  bear  a general  resem- 
blance in’  point  of  ornamentation  while  the  component  let- 


Plate  31.  Plate  32. 


ters  are  dissimilar  in  form.  They  may  be  considered  as 
comparatively  fair  specimens  for  practical  purposes, 
which  is  the  end  in  view.  These  comprise  five  letters 
each,  with  such  initials  as  McC.  and  McH.  With  other 
letters  to  combine  with  these,  such  monograms  are  ordi- 
narily difficult  to  construct. 

It  may  be  here  observed  that  in  the  monogram  C.  J. 
Me  H.  (Plate  31,)  also  the  larger  one,  J.  R.  McC.  (Plate 
32,)  the  manner  of  their  intertwining  and  embellishment 
is  so  distinctly  represented  that  those  who  are  quick 
enough  to  perceive,  and  are  ingenious  with  the  pencil  and 
graver,  can  readily  master  the  details  of  their  formation, 
and  substitute  other  letters  in  place  of  one  or  more  of 


GENERAL  LETTER  ENGRAVING.  107 

those  here  given.  They  may  be  practiced  freely,  accur- 
ately copying  each  detail  of  construction,  as  to  inter- 
twining and  “lapping,”  and  cut  according  to  instructions 
heretofore  given. 

The  monogram  represented  in  Plate  33,  M.  J.  G.,  is  of 
the  kind  denominated  elaborate,  and  is  quite  unlike  the 
preceding  specimens.  In  some  points  it  may  be  deemed 
to  resemble  some  of  those  already  shown  in  these  pages, 
but  a casual  inspection  will  show  a wide  distinction  be- 
tween them.  Indeed,  a mere  repetition  of  any  mono- 
gram which  we  have  heretofore  given  would  be  super- 
fluous and  uncalled  for. 


Flute  33.  Plate  34. 


A good  monogram  engraver  cannot  execute  other 
styles  of  lettering  with  the  same  facility  as  he  does  mono- 
gram work.  It  is  claimed  that  very  few  monogram  de- 
signers have  such  originality  of  talent  as  to  avoid  repeat- 
ing themselves.  This  may  be  true  in  a general  way,  but 
if  an  engraver  is  versatile,  possessed  of  skill,  and  is  ac- 
quainted with  good  styles  of  embellishment,  whatever 
repetition  he  commits  may  not  be  in  bad  taste.  Such 
repetition  may  be  more  admirable  than  originality  and 
variety,  if  at  every  step  accompanied  with  error  and  want 
of  skill. 


I08  GENERAL  LETTER  ENGRAVING. 

The  letters  S V V H (Plate  34,)  are  so  arranged  as  to 
be  quite  distinct  and  readable  at  a glance.  The  heavier 
letters  S H,  as  you  will  observe,  are  of  ordinary  combina- 
tion of  style,  but  the  two  V’s  are  introduced  to  give  the 
whole  a variety  and  striking  appearance. 

One  fault  about  copying  specimens  from  books  is  that 
there  is  but  trifling  variety  about  this  class  of  monograms, 
and  a heavy  and  intricate  combination,  often  difficult  to 
decipher,  is  the  result.  Most  of  the  book  specimens  have 
that  tendency  to  sameness  which  is  not  relieved  by  good 
design  and  finish.  They  are  stiff  and  mechanical;  either 

finished  too  light  or  too  elabo- 
rate, according  to  the  caprice  of 
the  designer.  The  artist  errs 
on  the  question  of  outline,  and 
then  aggravates  his  error  by 
excess  of  ornamentation  on  fan- 
tastic forms.  These  heavy  and 
uncouth  monograms  are  not 
only  offensive  to  artistic  taste, 
but  are  difficult  to  engrave.  They 
sometimes  appear  well  printed  in 
good  ink  on  well  calendered  paper,  but  when  the 
engraver  endeavors  to  reproduce  them  on  jewelry,  which 
is,  of  course,  our  province,  their  defects  will  become 
apparent  enough  to  be  embarrassing.  We  have  lately 
examined  some  imported  sheet  samples  of  monograms, 
which  are  very  faulty  in  many  respects.  A definite  style 
of  cutting,  showing  heavier  or  lighter  strokes,  lines,  etc., 
somewhat  similar  to  bank-note  engraving,  must  be  adhered 
to,  in  order  to  represent  the  designs  distinctly. 

It  would  be  easy  enough  to  devise  more  showy,  flashy 
and  elaborate  designs,  fearfully  and  wonderfully  inter- 
twined, than  that  shown  in  Plate  35;  but  those  who  want 
neatness  and  elegance,  absolute  harmony  of  detail  with 


Plate  35. 


GENERAL  LETTER  ENGRAVING.  IO9 

correctness  as  a whole,  simplicity  of  arrangement  with 
sufficient  elaboration,  will  prefer  this  specimen  to  the 
more  exquisite  and  fanciful  designs  of  the  professional 
dude. 

The  manner  of  placing  the  three  eights  in  combination, 
with  the  figure  one  running  through  the  center,  is  about 
as  good  as  can  be  selected  to  preserve  distinctness  and 
give  prominence  to  each  figure.  The  style  of  embellish- 
ment can  be  easily  understood,  as  the  work  is  quite  similar 
to  that  on  the  preceding  monograms  in  this  series. 

If  it  is  desirable  to  place  the  eights  in  a different 
form,  which  for  practice  and  variety  may  become 
necessary,  to  familiarize  oneself  with  the  method  of  inter- 
twining them,  it  may  be  well  for  the  reader  to  refer 
back  to  the  pages  where  the  figures  of  the  year  1887 
are  blended  together,  in  different  arrangement.  These 
will  probably  afford  ample  ideas  to  learners,  to  modify 
their  construction. 

Having  given  my  readers  a general  idea  of  the  con- 
struction of  monograms  of  the  description  that  it  will  pay 
them  to  imitate,  having  also  warned  them  against  the 
false  and  flashy  species,  you  will  now,  I trust,  be  ready 
to  resume  some  miscellaneous  instruction  in  general 
engraving. 

In  regard  to  letter  engraving,  there  appears  to  be  a 
healthy  demand  for  a widespread  knowledge  of  the  art 
at  present,  and  it  would  be  safe  to  predict  an  even  better 
outlook  for  the  future.  It  is  possible  that  much  greater 
advancement  will  be  made  in  this  direction  in  the  time  to 
come,  for  the  sphere  of  its  operations  will  probably  be 
widened  by  more  persons  learning  the  art  than  in  the  past, 
and  by  the  adoption  of  labor-saving  methods  to  accom- 
plish what  is  now  performed  by  slow  manual  operations. 
The  tendency  of  the  present  time  is  undoubtedly  in  the 
direction  of  jewelers  becoming  their  own  engravers,  that 


I IO 


GENERAL  LETTER  ENGRAVING. 


is,  such  of  them  as  can  spare  the  time  from  their  ordinary 
business  to  a branch  that  will  save  them  money  and 
exercise  their  skill  at  the  same  time. 

This  tendency  might  seem  to  discourage  professionals 
who  work  for  the  trade,  and  whose  custom  would  be 
threatened  with  serious  diminution  if  jewelers  would, 
from  motives  of  expediency,  do  their  own  work.  But 
there  is  no  serious  cause  for  alarm.  There  will  always 
be  demand  enough  for  skilled  work,  and  the  remunera- 
tion for  it  will  always  be  such  as  to  repay  the  time  and 
trouble  devoted  to  acquiring  the  art  of  executing  it. 

In  order  that  professionals  and  amateurs  of  engraving 
should  keep  ahead  in  the  march  of  progress,  it  is  neces- 
sary that  they  become  acquainted  with  the  improvements 
that  are  being  made  in  this  art  as  well  as  in  all  others. 
Keeping  secrets  appertaining  to  this  business  strictly  among 
the  craftsmen  is  a thing  of  the  past.  Some  time  since  very 
little  could  be  learned  of  engraving  except  in  the  regular 
establishments,  or  from  instruction  books,  which  were 
far  from  being  practical  helps. 

However,  to  look  at  practical  results,  probably  not  one- 
third  of  those  who  take  up  the  study  of  the  art  persevere 
in  it  so  as  to  become  proficient.  The  reason  is  not  diffi- 
cult to  divine ; it  is  because  they  despair  of  being  able  to 
devote  the  necessary  time,  and  also  to  a lack  of  confi- 
dence in  themselves  to  acquire  a knowledge  of  the  busi- 
ness without  the  superior  care  and  training  of  a teacher. 
Those  who  fail  for  these  reasons  have  themselves  chiefly 
to  blame;  though  of  course  we  do  not  expect  that  all 
those  who  embrace  the  business,  will  succeed.  There 
are  failures  in  every  business,  through  want  of  adaptation, 
or  lack  of  skill  and  application,  which  renders  success 
under  the  circumstances  impossible.  Still  a great  num- 
ber will  become  proficient  enough  to  do  much  of  the 
ordinary  kind  of  work,  even  if  their  ability  is  not  of  a high 


GENERAL  LETTER  ENGRAVING. 


Ill 


order.  These  will  be  able  to  save  much  time,  trouble 
and  expense,  and  being  able  to  fill  a want,  prevent  many 
disappointments. 

This  consideration  alone  is  of  great  importance  to  jew- 
elers, for  it  is  a great  convenience,  upon  which  many  a 
sale  may  depend,  to  be  able  to  have  marking  promptly 
executed.  It  is  for  just  such  reasons  that  our  jewelers 
— not  alone  the  isolated  and  remote,  but  our  neighbors 
in  large  cities  and  flourishing  towns — should  become 
familiar  with  the  engraving  art.  The  watchmaker  and 
manufacturing  or  jobbing  jeweler  should  aim  to  attain 
this  proficiency,  so  as  never  to  be  placed  at  disadvantage 
in  their  business  when  a brief  job  of  engraving,  not  re- 
quiring uncommon  skill,  is  to  be  done. 

It  should  be  borne  in  mind  that  professionals,  however 
much  they  may  excel  in  their  business,  do  not  reach 
their  ability  without  great  labor  and  industry.  Expert 
bank  note  engravers  have  been  known  to  study  chemistry, 
printing  and  electrotyping,  as  well  as  engraving,  so  as  to 
excel  in  their  business.  It  will  be  inferred  from  this  that 
those  who  wish  to  do  engraving  ordinarily  well  cannot 
hope  to  learn  without  giving  considerable  study  and  at- 
tention to  its  details. 


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MOSELEY 


HAS  been  spending  his  time  for  many  years  in 
making  Moseley  Lathes  as~’good  as  lathes 
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Nothing  is  overlooked  in  their  manufacture  and 
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them  Right. 

It’s  no  wonder  that  Moseley  Lathes  are  good 
Lathes. 

They  are  the  result  of  years  of  painstaking, 
systematic  and  skilled  endeavor  to  satisfy  the  exact- 
ing requirements  of  the  most  critical  and  experi- 
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Write  your  jobber  for  price  list,  or  to  the  manu- 
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0 

HA RA  WALTHAM  DIAL  C 

MANUFACTURERS  OF 

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as  on  China  Ware. 

O’HARA  WALTHAM  DIAL  CO. 

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Jrwrlrrfi 


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ffrarly  datalagurs 

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THE  BEST  WAY 

Many  first-class  workmen  throughout  the  country 
recommend  a young  man  to  the  horological  school  for  his 
training  of  head  and  hand  when  he  has  decided  to  take  up 
watch  work  and  its  kindred  trades.  This  is  proven  by  the 
fact  that  seventy-five  per  cent  of  our  students  have  been 
recommended  by  the  leading  jewelers  and  watchmakers 
of  their  community,  and  twenty-five  per  cent  are  the  sons  of 
parties  who  are  in  the  jewelry  business,  and  in  many  cases 
represent  the  largest  establishments  in  their  section.  They 
realize  that  they  will  get  many  times  more  attention  in  a 
thoroughly  equipped,  well-established  watch  school,  where 
there  is  a full  corps  of  competent  instructors,  than  they  can 
possibly  receive  as  apprentices  in  a store  where  the  watch- 
maker is  too  busy  to  take  time  for  the  proper  instruction, 
or  the  jeweler  is  rushed  without  being  plied  with  questions 
from  a novice,  and  the  engraver  has  something  else  to  do 
when  not  at  work  on  his  own  line,  waiting  on  customers  or 
other  work  about  the  store  which  demands  his  attention. 

At  Bradley  the  work  has  been  systematized  so  that 
a student  can  get  the  greatest  possible  amount  of  work 
in  the  shortest  time,  and  the  grade  of  his  work  is  many 
points  ahead  of  the  average  appprentice  who  has  put  in  five 
or  six  times  as  much  work  and  time  in  a store. 

Bradley  Horological  Department  is  no  experiment — 
it  is  the  oldest  school  in  the  country,  has  the  largest  build- 
ing in  the  world  that  is  used  exclusively  for  the  purpose  of 
instruction  in  watch  work,  jewelry  and  engraving,  is  the 
best  equipped  as  regards  tools  and  instructors,  with  finan- 
cial backing  which  guarantees  everything  as  represented. 
It  is  the  only  Endowed  Watchmakers’  School  in  the  United 
States. 

You  can  get  watch  work,  jewelry  work,  engraving 
and  optics. 

Send  for  catalogue  to  horological  department. 


BRADLEY  POLYTECHNIC  INSTITUTE, 

PEORIA,  - - = ILLS. 

— 


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We  Are  Not  the  Largest  but  our  customers  tell  us 
we  are  the  BEST;  we  are  the  MOST  PRC>MPT;  we  are  the 
MOSTjCAREFUL;  and  our  PRICES  are  the  LOWEST  of  any 
house  in  America. 


The  “ACME”  Engraving  Block.  All  parts  nickel  plated.  Our  price,  $2.70  net. 
Any  jeweler  will  do  well  to  give  us  a trial  in  our  Tool,  Material, 
Findings  and  Optical  Department.  You  will  And  the  entire  line. 

If  you  know  anyone  who  is  going  to  start  in  business,  he  will  find  that  we  can 
make  prices,  time,  etc.,  to  his  entire  satisfaction.  You  will  like  our  methods 
and  we  solicit  your  business. 

151=153  Wabash  A ve.,  Chicago,  HI. 

WHOLESALE  JEWELERS’ 

• AND  WATCHMAKERS’  SUPPLIES 


Galvin  Claner  Co 


The  American  Jeweler 

CHICAGO,  ILL.,  U.  S.  A. 


Has  Readers  in  Every  Country  Where 
the  English  Language  Is  Understood. 

The  reason  is  that  it  is  a thoroughly  practical  Technical  Journal, 
devoting  its  entire  contents  to  original  practical  matter  which  is  of 
value  to  the  Watchmaker,  Jeweler,  Optician,  Electro-Plater  and  En- 
graver. Not  a dull  or  impractical  article  in  it  from  one  year’s  end  to 
the  other. 

Send  us  One  Dollar  and  we  will  mail  you  the  Jeweler  for  a year  and 
a cloth  copy  of  “The  Watchmakers’  Hand  Book,”  revised  American 
Edition.  It  contains  273  illustrations,  506  pages,  thoroughly  indexed. 
It  is  brought  down  to  date  with  special  reference  to  the  wants  of 
American  Watchmakers.  This  book  will  not  be  sold  and  can  only  be 
had  by  subscribing  to  The  American  Jeweler.  Fine  cloth  binding. 
Gold  side  and  back  stamps. 

This  Journal  is  up=to=date  and  progressive  and 
is  worth  many  times  the  subscription  price 
to  all  progressive  Watchmakers  and  Jewelers. 


HAZLITT  & WALKER 

PUBLISHERS 

373  Dearborn  St.  - - CHICAGO,  ILL. 


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PRACTICAL  BOOKS 

FOR 

Watchmakers  and  Jewelers,  Electroplaters, 
Engravers,  Opticians,  Etc. 

PUBLISHED  BY 

HAZLITT  8c  WALKER, 

373  Dearborn  Street  - Chicago 


Abbott’s  American  Watchmaker  and  Jeweler.  By  Henry  G. 

Abbott.  An  Encyclopedia  for  the  Horologist,  Jeweler,  Gold  and  Silversmith. 
Containing  Hundreds  of  Private  Receipts  and  formulas,  Compiled  from  the 
Best  and  Most  Reliable  Sources.  Complete  Directions  for  Using  all  the  Latest 
Tools,  Attachments  and  Devices  for  Watchmakers  and  Jewelers. 

Among  other  things  contained  in  this  volume  may  be 
mentioned  a thorough  explanation  of  adjustments, 
both  to  positions  and  isochronism;  directions  for  mak- 
ing all  the  alloys  used  by  a watchmaker,  jeweler  and 
metalworker;  a review  of  all  the  escapements,  their 
action,  construction  and  proportion,  together  with 
diagrams  of  each  escapement;  an  exhaustive  treatise  on 
balances,  their  expansion  and  contraction,  auxiliaries, 
sizes  and  weights  and  direction  for  poising;  the  balance 
staff,  and  full  and  complete  directions  for  making  and 
replacing  new  staffs,  together  with  the  use  of  graver  in  turning  and  the 
manipulation  of  measuring  instruments;  directions  for  making  twenty  differ- 
ent cements  of  great  value  to  the  watchmaker  and  jeweler,  including  lathe 
wax;  directions  for  cleansing,  pickling  and  polishing  all  kinds  of  metals; 
magnetism  and  the  use  of  various  demagnetizes;  electro- plating,  bronzing 
and  staining  all  metals;  gauges  of  all  kinds,  and  directions  for  using;  solder- 
ing and  directions  for  making  all  kinds  of  hard  and  soft  solder  and  fluxes; 
steel,  its  treatment  in  annealing,  hardening,  tempering,  etc.;  watch  cleaning, 
repairing,  etc. ; a treatise  on  wheels  and  pinions;  directions  for  using  all  mod- 
ern tools  and  appliances;  and  hundreds  of  miscellaneous  receipts,  formulas 
and  hints  on  all  kinds  of  work,  of  great  value  to  every  workman.  This  edition 
contains  forty-four  pages  more  than  former  editions,  and  each  page  contains 
one-third  more  matter  than  the  pages  of  former  editions.  An  alphabetical 
list  of  all  books  on  horology  published  in  the  English  or  French  language, 
prior  to  1850;  portraits  and  sketches  of  all  the  celebrated  watchmakers  of 
the  world  from  1600  to  1893.  378  pages.  Illustrated  with  317  engravings. 

Fine  muslin,  $1.50.  Leatherette  covers 1 25 

The  Watchmakers’  and  Jewelers’  Practical  Hand  Book,  a guide 

to  the  student  and  a workshop  companion  for  the  practical  watchmaker. 
Hundreds  of  valuable  suggestions  from  private  formulas  and  the  best  authori- 
ties, together  with  hints  on  making  certain  repairs.  An  invaluable  book  for 
the  workman.  The  most  valuable  book  for  the  money  ever  offered  to  the 
trade.  Fifth  edition,  revised  and  enlarged.  Edited  and  compiled  by  Henry 
G.  Abbott.  Illustrated  with  154  zinc  etchings.  118  pages.  Paper  covers  25 
Flexible  Cloth - 35 


Acme  Record  of  Watches  Bought  and  Sold.  A complete  record 

for  dealers  in  watches,  by  which  they  can  at  all  times  tell  what  watches  have 
been  sold,  by  whom  bought,  profit  made,  etc.,  and  in  case  of  the  watch  being 
imperfect,  the  dealer  can  readily  ascertain  from  whom  he  purchased  it,  or  if 
stolen  he  has  a full  description  of  them  which  should  materially  aid  in  their 
recovery.  Books  of  3,000  Entries,  substantially  bound 1 00 

The  Acme  Record  of  Watch  Repairs.  A simple  and  economical 

method  of  recording  watch  repairs.  Book  of  1,000  entries,  substantially  bound  1 00 

The  Acme  Record  of  Jewelry  Repairs.  A simple  and  economical 

method  of  recording  jewelry  and  miscellaneous  repairs.  Book  of  1,000  entries, 
substantially  bound „ 1 00 

The  Acme  Optical  Record.  A Cash  Book,  Ledger  and  Record 

Book  in  one.  In  it  the  optician  can  keep  a full  record  of  each  case,  showing  the 
name  of  customer,  by  whom  sent,  his  address,  history  of  case,  physical  ap- 
pearance, vision  R.  and  L.  before  and  after  fitting,  ophthalmoscopic  exam- 
ination, absolute  refraction,  exophoria,  distance  and  near;  esophoria,  distance 
and  near;  hyperphoria,  right  and  left,  cyclophoria;  prescription  R.  and  L. 
who  filled  prescription;  pupillary  distance,  hesd  space  between  temples, 
height  of  nose  piece  at  crest;  width  of  nose  piece  between  curls;  crest  of 
nose  piece  forward  or  back  of  plane  of  lenses,  size  of  eye  - style  of  nose  piece, 
style  of  temple,  material,  cost  charge,  and  when  paid.  Ruled  and  printed 
on  first  class  blank  book  paper,  and  bound  in  full  cloth.  Books  of  igo  pages  125 
Books  of  200  pages 1 50 

Repairing  American  Watches.  By  “Detent.”  An  essay  on  the 

repairing  of  all  kinds  of  American  watches.  Written  in  a practical  manner 
by  a practical  workman.  It  is  a work  of  unusual  merit  and  deserves  to  be 


on  the  bench  of  every  practical  workman.  In  paper  cover,  48  pp  25 

The  Escapements.  Their  Action,  Construction  and  Proportion. 

All  watch  and  clock  escapements  thoroughly  illustrated  and  described.  Illus- 
trated with  twenty  diagrams.  Paper  Covers  Price 50 

Same  in  cloth  binding 75 

The  A B C 0!  Fitting  Glasses.  A manual  for  the  optician.  By 


Edmund  T.  Allen,  M.  D.,  Ph.  D.  Contents:  The  Fitting  of  Glasses;  The  Rec- 
ord Book;  Hypermetropia ; Etiology,  History  and  Diagnosis;  Symptoms, 
Objective  Signs,  Test  Type,  Pin  Hole  Test,  Ophthalmoscopic  Test,  Treat- 
ment, Regimen,  Prognosis;  Correction  of  Hypermetropia;  Myopia;  Etiology, 
Diagnosis,  Objective  Signs,  Tests,  Treatment,  Prognosis;  Correction  of  My- 
opia. Astigmatism;  Etiology,  Diagnosis,  Objective  Signs, Tests,  Ophthalmo- 
copic  Test,  Treatment,  Prognosis;  Correction  of  Astigmatism.  Presbyopia. 
Correction  of  Presbyopia.  Muscular  Asthenopia,  Etiology,  Diagnosis,  Objec- 
tive Signs,  Hartridge’s  Test,  Treatment.  Heteraphoria,  Varieties,  Causes, 
Anatomy,  Tests,  Effects,  Ocular  Reflexes.  Higher  Prisms  an  aid  in  the  treat- 
ment of  Incurables.  Cataract;  Classification,  Anterior  Capsular  Cataract, 
Posterior  Polar  Cataract,  Lamellar  or  Zonular  Cataract,  Comical  Cataract, 
Nuclear  Cataract,  A Mature  Cataract,  A Hypermature  Cataract,  Etiology, 
Diagnosis,  Objective  Symptoms,  Differential  Diagnosis.  Prognosis,  Treat- 
ment, Surgically.  Glaucoma;  Iridectomy,  Cyclotomy,  Sclerotomy.  In  pa- 
per covers,  75  cents.  Cloth  binding 1 00 

Watchmakers’  and  Machinists’  Handbook.  Containing  a few 

Simple  Rules  and  Explanations  on  the  Relations  of  Wheels  to  Pinions,  with 
Methods  of  Figuring  the  same.  By  William  B.  Learned,  late  superinten- 
dent of  the  E.  Howard  & Co.  Watch  Factory,  Boston,  Mass.  Contents; 
Sizing  of  Wheels  and  Pinions;  Definition  of  Wheel;  Pinion;  Pitch  Circle; 


Deni.  Alien  & Co. 


Importers  and  wholesale  dealers  in 

Watches 


Silversmiths’  Building 


Clocks 


Diamonds 


Jewelry 


Silverware  . . . 
Optical  Goods 


Watch  Materials,  Watchmakers’  and 
Engravers’  Tools  of  Every  Description 


The  Silversmiths  Building,  131  to  137 
Wabash  Avenue,  Chicago.  III. 

We  issue  two  Catalogues : One  showing  a com= 

plete  line  of  Watches,  Clocks,  Jewelry,  Diamonds, 
Etc.  The  other  a full  line  of  Watch  Materials, 
Tools  and  Jewelers’  Supplies. 


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GETTY  CENTER  LIBRARY 


i iiiii 

3 3 

III  111  II 

125  00 

in 

139 

iiiii  i 

4259 

11 1 

